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r^ 


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AND   ENGLISH  TEXT 

AND  MUSIC  OF  THE   PRINCIPAL  AIRS 


DON  PASQUALE 


BY 


DONIZETTI 


JL 


JO. 


n. 


^ 


OLIVER  DITSON  COMPANY 
BOSTON 


iCHAS'H'DITSONSa 


'LYON  6t  HEALX 
Chicago 


iiiiiiiiiiiiiMiniiirii|jii|irf 


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OPERA 


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OOIITAIVIIIO    THI 


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BOSTON 

OLIVER    DITSON    COMPANY 

NEW  YORK  CHICAGO 

CHAS.  H.  DITSON  &  CO.  LYON  &  HEALV 

Copyright,  ism,  by  Oi.ivek  Ditsov  Sc  Co.  Copyright,  1888,  by  Olivku  I)n>^'>  &  <'o 


MUSIC  LIBRARY 

University  of  California 
Berkeley 


1 


DI^-A-DS-d^ft^TIS     I^IEJFlSOJSr^ 


DOW   PASQUALE.  BA8tf 

DOCTOR    MAL  ATESTA.  BARITOÌfw 

ERNESTO.  TENOR. 

NORINA.  SOPRAN(» 


Notary,  Servants,    Valets,  Chambermaids,  Bntler.  Milliner,  Ualr-Dresser, 


UBXBTTO    BT    MM.    ▲J.FHOKM   BOTXK   ▲«!>   «DSTATB   TABS 


475 


ARGUMENT. 


Don  Pasquale  was  a  rlcli,  crednloas,  bat  good-hearted 
»ld  bachelor,  who  lived  in  one  of  the  middle  Italian  States. 
He  had  but  one  relation,  a  nephew,  by  the  name  of  Ernesto, 
t  fine  yoang  man,  who  had  always  lived  on  the  purse  of 
his  ancle,  and  in  the  natural  course  of  eyents,  woald  in- 
herit his  wealth.  Uncle  and  nephew  had  lived  together  in 
l>eace  and  harmony,  a>tU  th*  former  got  it  into  his  head, 
©provide  for  Emetto  n.-^"^  •  wealthy  widow,  by  which 
marriage  he  would   ben  mfortably  settled   in  life. 

Unfortunately  for  the  uucic  :>  fond  plans,  Ernesto  had  al- 
ready formed  an  attachment  to  «  young  girl  of  much  beau- 
ty and  many  accomplishments,  but  of  very  limited  fortune, 
— Norina, — and  refused  to  obey  his  wishes-  Don  Pasquale 
became  enraged  at  this  resistance,  swore  he  would  disin- 
herit Ernesto,  and  resolved  to  settle  himself  in  marriage,  in 
order  to  have  somebody  else  to  leave  his  money  to  than  his 
ungrateful  and  undutiful  nephew  Ernesto. 

As  Don  Pasquale  had  always  kept  himself  quite  aloof 
from  the  other  sex,  he  was  at  a  loss  upon  whom  to  fix  his 
choice,  when  he  bethought  himself  of  a  Doctor  Malateata, 
who  had  been  friend  and  physician  to  him  a  good  many 
fears,  and  who  might  be  just  the  person  to  find  him  a 
•uitable  wife.  Accordingly  the  Doctor  was  sent  for,  and 
made  acquainted  with  the  project  of  his  patron.  Now 
Doctor  Malatesta,  besides  being  sensible  of  the  absurdity 
of  the  old  bachelor's  resolution,  was  a  friend  to  Ernesto, 
■nd  immediately  made  up  his  mind,  to  save  Don  Pasquale 
from  jost  ridicule  and  bitter  repentance,  and  Ernesto  from 
'iie  fate  of  poverty.  He  informed  bis  patron  that  he  had 
4  aister,  who  had  just  finished  her  education  in  a  convent, 
and  come  on  to  visit  him  ;  that  he  thought  her  a  capital 
match  for  his  esteemed  friend;  that  he  would  introduce 
her  to  him,  and,  if  the  impression  were  agreeable,  the  mar- 
riage might  at  once  be  consummated.  Don  Pasquale  wa« 
delighted,  and  asked  that  the  girl  should  ai  once  be 
brought  to  him.  Malatesta  went  off  and  straightway  in- 
formed Norina  of  the  mischief  that  was  brewing,  and  the 
means  he  had  devised  to  prevent  it.  These  were  no  less 
than  introducing  Norina  to  Don  Pasquale  as  his — Mala- 
testa's — sister,  spoken  of  previously,  marrying  her  to  him 
by  a  sham  notary,  and  then  leaving  it  to  the  wit  and  inge- 
nu.;y  of  Norina  to  disgust  the  bridegroom  so  thoroughly 
with  matrimony,  that  a  denouement  would  at  last  relieve 
all  parties,  restore  Ernesto  in  the  affections  of  his  uncle, 
and  procure  Norina's  hand  for  him. 

Norina  did  not  hesitate  to  accept  the  part  assigned  to  h«r 
in  this  plot.  She  accompanied  the  Doctor  to  Don  P»8- 
qoalo's  residence,  and  by  well  affected  modest  looks  and 
simplicity,  so  charmed  the  old  bachelor  that  he  desired  to 
marry  her  immediately.  Ernesto,  who  had  been  informed 
of  the  intrigale,  came  Just  in  time  to  witness  the  ceremony. 


which  was  conducted  by  a  nciitioos  notary.  No  soonei 
were  the  nuptials  celebrated,  when,  to  the  great  astonish 
ment  of  the  goo<i  Don,  with  whom  order  and  economy 
were  the  leading  rules  of  conduct,  and  «ho  imagined  hii 
young  wife  a  pretty  slave,  Norina  began  to  assume  the  airs 
of  a  mistress.  She  dismissed  old  servants,  overthrew  the 
order  of  the  household,  ordered  new  furniture,  carriage 
and  horses.  In  vam  Don  Pasquale  remonstrated;  she  must 
and  will  have  her  say.  He  spoke  authoritatively,  she 
laughed  at  him  ;  he  pleaded  moderation,  she  scorned  him, 
and  recommended  him  to  go  to  bed,  as  she  had  made  up 
her  mind  to  go  to  the  theatre  with  Ernesto  As  she  left 
the  room,  she  dropped  a  note,  which  Don  Pasquale  quickly 
picked  up  as  soon  as  his  spouse  had  left  the  room.  His 
consternation  was  indescribable,  when  he  discovered  by  its 
contents  that  his  wife  had  made  an  appointment  to  meet  a 
lover  that  very  evening,  by  a  pavilion  in  his  garden.  Doc- 
tor Malatesta  was  immediately  sent  for,  and,  of  course,  was 
not  long  in  coming.  Don  Pasquale  was  furious,  talked  of 
exposure,  punishment,  divorce,  &c.,  but  the  Doctor  soon 
convinced  him,  that  in  his  just  rage  he  would  probably  go 
too  far,  and  persuaded  him  to  grant  full  power  to  solve 
these  difficulties  to  himself,  the  Doctor.  "Everything," 
said  the  old  husband,  "  only  get  rid  of  this  woman." 

At  11  o'clock  Don  Pasquale  and  the  Doctor  repaired  to 
the  garden,  where  Ernesto  and  Norina  enacted  the  scene 
of  an  interview.  They  just  caught  a  glimpse  of  the  figure 
of  Ernesto,  muffled  up  in  bis  cloak,  who  then  slipped  off 
to  the  house.  They  seized  Norina,  who  boldly  asserted 
that  she  was  there  alone,  had  seen  no  one,  and  was  to 
meet  no  one.  Don  Pasquale  had  the  garden  searched. 
Nobody  could  be  found.  Norina  denied  all  charges  made 
against  her.  Don  Pasquale  proposed  to  buy  himself  off; 
she  would  not  listen  to  it.  At  this  juncture  the  Doctor 
dropped  the  remark  that  she  would  have  to  share  her 
authority,  at  any  rate,  with  Norina,  who  was  shortly  to 
enter  the  house,  as  the  wife  of  Ernesto.  Don  Pasquale  at 
first  was  greatly  shocked  at  this  indiscretion  of  his  mana- 
ger, but  perceiving  the  well  feigned  consternation  of  his 
wife  at  these  views,  he  avowed  his  consent  to  this  strata- 
gem, thinking  to  drive  her  out  by  the  new  comer.  And  so 
he  did,  as  he  immediately  found  ont,'although  not  exactly 
in  the  manner  in  which  he  thought;  for,  no  sooner  had  he 
given  his  consent  to  the  marriage  of  Norina  and  Ernesto, 
when  the  latter  stepped  forth,  took  Norina  by  the  hand, 
and  asked  the  blessings  of  the  thunderstruck  uncle.  Doc- 
tor Malatesta  explained  the  deceit,  which  had  been  prac- 
tised upon  him,  and  as  Don  Pasquale  felt  so  happy  at  being 
at  peace  once  more,  be  united  the  band  of  his  nephew  ti 
th«  luuid  of  Norina. 


DON      PASQUALE. 


ATTO    I. 

SCENA  1. — Csaia  in  Ccua  eh  Don  Patquaìe,  etm  Porta  tn 
fomdo  d'  entraOa  comune,  e  due  Porte  laterali  che  futdano 
agli  Appartamenti  intemi. — Un  Orologio  iegna  nove  ore. 

Don  PaSQUALB  »olo,  guarda  con  impazienza  aW  orologio. 


ACT     1 


SCENE  I.— ^  Ooom  in  the  House  of  Don  PatquaU,  wttk  o 
Door  for  gmtral  mtrance  at  the  back,  and  two  Stde-domt 
leading  to  inner  Chamberi. — A  Clock,  nhowing  the  hom  tf 


Poe.     Son  nov'  ore  !  di  ritomo 
Il  Dottore  esser  dovria. 

Zitto  !  panni — è  fantasia, 
Forse  il  vento  che  passò. 

Che  boccon  di  pillolina, 

Nipotino,  vi  preparo  ! 

Vò  chiamarmi  don  somaro. 

Se  veder  non  ve  la  fo. 
àfalatetta.  \Di  dentro.]  E  permesso  ^ 
Pcu.  ÀTanti,  aTmaii  I 

SCENA  n.— Entra  U  Dottor  Malatmta. 


\AMcolta»do. 


Pas.  I  Con  ansietà.  ]  Dimqae  1 


Mala. 
Pas. 

Mala. 

Pas. 

Mala. 


Pv 


Zitto,  eoa  prodenia  1 

10  mi  straggo  d'impazienza  ) 
La  sposina  t 

Si  trovò  ! 
Benedetto  ! 

(Che  babbionel) 
Proprio  quella  che  ci  vnole. 
Ascoltate  ;  in  due  parole 

11  ritratto  ve  ne  fo. 

Son  tutt'  occhi  ?  tutto  orecchie  I 
Muto,  attento  a  udir  vi  sto  ! 


Don  Pabqcalb,  looking  anxiously  at  the  Clock. 


Pas. 


[LutOtMf 


'Tis  nine  o'clock  !  on  his  return 
My  friend,  the  Doctor,  ought  to  be. 

Htish  !  hush  !  I  think — 'tis  fantasy, 
Or  else  the  wind  that  seeks  its  bourne. 

Oh,  what  a  mouthful  of  a  pill, 

Nephew,  prepare  for  you  I  will  ! 

Myself  I'll  call  a  donkey  wise. 

If  soon  I  open  not  your  eyea  ! 
Malatesta.  [From  within.]  Have  I  permission  ? 
Pas.  Enter — fi-eely  enter  I 

SCENE  II.— £;nter  Z>octor  Malatmia. 

Pas.  [Anxiously.]   Well,  well,  my  friend  ? 

Mala.  Hush,  bash,  you  mast  be  patient  ^ 

Pas.     I  am  consum'd  to  ashe.s  with  impatience  ! 

The  bride  !  the  bride  !  dear  Doctor  ? 
Mala.  She  is  foond  I 

Pas.     Oh,  bless  yon  !  bless  you  ! 
Mala.  (What  a  stupid  blockhead  1) 

Exactly  such  a  one  as  you  have  wshed  for. 

Listen  with  all  your  ears  ;  and  in  two  words 

The  portrait  of  the  charmer  I  will  draw. 
Pas.     I  am  all  eyes — what  do  I  say  ?  all  ears  ! 

Mute  and  attentive,  listening  I  wait  I 


BELLA  SICCOME  UN  ANGELO— BE AVTEOVS  AS  AN  ANGEL  BORN.     Doctor  Malatbsta. 


Bel  -  la    8ic-corae  un  an  -  ge 
Beau-teoua       a*     an  an  -  gd 


lo  !      In  terra  pel 
bom  !  Bright  as 


le  •  gri    -    noi 
dews  that  gem  the  earth  ! 


Fre-sca  sic-come     il 
Fresh  as     the    li  ■  ly 


gi  -  glio, 
at  its  birth. 


^m^mm^m^^^^^ 


-- ?— T-- 


Cbe 
When 


sa  -  pre 
op'-ning 


sul 
to 


mat  -  li  -  noi 
the       mom  I 


Oc  -  chio  che     par-la  e      ri  •    de! 
Lov'd  eyes  that  speak  while  smil-ing  ! 


Sgnar ■ 
Heart, 


do 


ch'i     cor   oon  - 
'ry      heart  that 


'^m^Mmm^^^^^m^m^ 


qoi-de    - 
eonquert 


chioma    che  vince  I'  -  e-  ba-nol    Sor-ri      so     in-can-ta-ior,     sor -ri-8oin-can-t«-torl 
.  -  Hair  that  can  vie     with    tb  ■  »  ■  ny  1  A  sweet  smile  might  Heav'n  adorn, a  smile  might  Heav'n 


DON  PASQUALI 


Pa».     Spout  aimile!  oh  giabilol 
Non  cape  in  petto  il  cor  1 
Mala.  Aloia  innocente  e  candida, 

Che  sé  medesma  ignora, — 
Modestia  impareggiabile, — 
Dolcezza  che  innamora, — 
Ai  miserì  pietosa, 
Gentil,  baona,  amorosa  ; 
n  Ciel  l'ha  fatta  nascere. 

Per  far  beato  an  cor. 
Famiglia — 

Agiata,  onesta. 
Casato — 

Malatesta  I 
Sarà  vostra  parente  * 
[Con  intenzione.]         Alla  lonUB*  u  pi  1 
£  mia  sorella. 

Oh,  gioja  I 
Di  più  bramar  non  so  ! 
E  quando  di  vederla  * 
Quando  mi  fia  concesso  t 
Mala.  Domani  sul  crepuscolo. 
Po».     Domani  !     Adesso,  adesso  ! 

Per  carità.  Dottore  ! 
ifaia.      Frenate  il  vostro  ardore — 
Quetatevi — calmatevi  : 
Fra  poco  qui  verrà. 
Pat.  [Con  trasporto.]  Davvero  1 
Mala.  PraparaMri, 

E  ve  la  porto  qaà 
Pa$.  [Lo  abbraccia.] 

Oh,  caro  !  or  toste-  a  prenderla  I 
Afala.  Ma,  adite — 
Pat.  Non  fiatate. 

Maia.  Mar- 
Po».  Non  e'  ^  ma,  volate, 
O  casco  morto  qaà. 

[  Gii  tura  la  bocca,  «  io  tping*  via. 


Mala 
Pat. 
Maia 
Pat. 

Mala 

Pat. 


Pm».    A  wìlb  Uke  her  joo've  drawn,  oh  J07 1  oh  tnaapen  1 

I  feci  mj  bosom  cannot  hold  my  heart  ! 
Mala.  A  soul  that's  innocent  of  guile, 
Unconscionslj  perfection, — 

Modest  without  compare,  the  while,— 
Sweetness  that  wins  e'en  loom, — 

Pitv  the  wretched  showing. 

With  gentle  love  o'erfluwing  : 

By  Heaven  created  with  such  worth. 
To  bless  some  heart  forlorn. 
Pat.     Her  family — 

Mala.  Both  wealthy  and  reapectabU. 

Pat.     Ah  !  of  the  house  of— 
Mala.  Malatesta  I 

Pat.     Is  she,  then,  your  relation  '> 
Mala.  [Aleaningly. ]  Distantly  I 

That  is,  she  is  my  sister. 
Pat.  Oh,  what  joy  ' 

More  1  can  never  wish  for  ! 

But  when  shall  I  gaze  on  her  * 

When  of  such  bliss  the  donor  1 
Mala.  At  dusk  to-morrow  eve. 
Pat.     To-morrow  !     Why  not  now  ' 

In  pity.  Doctor,  bow  ! 
Mala.      Bridle  your  ardor  warm — 
Quiet  yourself — be  calm  : 

She  soon  shall  come,  I  vow. 
Pat.  [In  transport.]  Come  in  reahty  ! 
Mala.  Prepare  yoonelfi 

And  I  will  bring  the  lovely  creature  here. 
Pat.   [Embracing  him.] 

Oh,  my  dear  feliow  !  fly  like  wind  and  fetch  ber. 
Mala.  But  listen  to  me — 
Pat.  Do  not  stay  to  talk. 

Mala.  Bat,  my  dear  Don — 
Pat.  Bat  me  no  huts,  bat  fly, 

Or  I'll  fall  dead  as  stone  upon  the  spot. 

[Stops  hit  mouth,  and  puahet  ktm  mm 


AH,  UN  FOCO  INSOLITO— A  FIBE  ALL  UNFELT  BEFORE.     Solo.     Don  Pasqual». 


^t^^^^^mi^M^i^^ 


Ah an        fo  -  coin-so    -    U     -    to.  Mi        sen  -  toad-dos  -  so:       O  -    mai       re  -  si    •   ste  •    re — 

A fire,      all        un-fdt      be  -  ftrt,  Burnt    in      mp  heart's  core  :     I       can        re-ntt      no   mart — 


^^^mmm^^^sm^\^i§=m-\ 


Io      pih      non  pos  -  so.        Dell'  e  -    tà      vec    -     chia,         Scor  do  i      ma  -  la    -      ■  ni, 
rU    ftrxve    no    long  -  er.  Of   old   age    en  •  fee  •  bUng  me,  For  -got        it      the    mis  •  e  •  ry. 


Mi       sen     to 

Fed  •  ing    tHU 


*^ — ^ — t? — l^nnrr^fczt^  T    '1        .1  -S    .  .^T — ^! — -t<       .  I  ^  -^^-^T~-^ ^ ri 


glo  -  Ti  •  ne —         Co-me  a    vent'  an    -    ni.  Deh!      cara,  af  -  fret  -  ta   -    ti.    Vie  -    nl       spo  -si    -        •    na 
yovmg  to      be —  Than  twen-ty    much  ttrong-er.     Ah  !     has  •  ten    speed  •  i    -    ly,  Stoeet    lit    -    tie    bride,  to        me 


I 


=(5: 


¥ 


dS — :i5  iri:zi=i^zz:  riL:d^zzz:i!5i  '  ^    fe  h ^T~~*'i — ^~"T~'^~^  ^       " 


Ec  -  CO 
Dear  lit 


di     bam  -   bo    -   U,    mez  -  za      doz  •  zi 
He      ba    -    biet,    we    FuU    half     a      do 


na.    Già      veg  -  go     na  -  see  -  re.    Già     reg  ■  go 
ten.   Then  we'll    have  born   to    me,  Orown  up      Iktt 


^mf^^^m'^^^m.^^Mt^^m 


ere  -  see  -  re,    A        me    d'in  -  tor  -       -  no,      veg  -  go    scherzar; 
tetm      to      be    All      sport  -  ing  round  my    knee, —  8or  -  row  they'll  co  ■  ten  ; 


Veg  -  go      gia     na  -  see 
Orown  up      tkey  teem      to 


DON  PASQUALI. 


^i^^^ 


Teg  -go       già       ere  -  Bce  •   re,         A       bm      d'in 
AB      tport    inij      round  my     knm;    Qam     ^      <n^ 


tor  •       -no 
J0lf  •  ou$  -  ly. 


Teg  -  go      icher  -  zar 

Sor  ■  row    they'll      00    ■ 


Son  rinato  !     Or  «i  parli  al  nipotino, — 

A  fare  il  cervellino, 

Veda  che  si  guadagna  1 

[Guarda  nJU 
Enroio  appunto  ! 

SCENA  in.— Ekhssto  «  dttto. 

Pm.     Giungete  a  tempo  :  stava 

Per  man(iiir-.-i  a  chiamare.     Farorite — 
Sr».     Souu  ai  vostri  comandi. 
Pa»     Non  vo'  farvi  un  sermone  : 

Vi  domando  un  minato  d'  attenzione 

E  vero  o  non  è  vero 

Che,  saranno  due  mesi, 

Io  y'  offersi  la  man  di  ona  stella 

Nobile,  ricca  e  bella  t 
Sm.     E  vero. 
Po*.  Promettendovi  per  giunta 

Un  buon  assegnamento,  e  alla  mia  mone 

Quanto  possiedo  7 
Em.  E  vero  I 

Po*.  [Minacciando.]  In  caso  di  rifato. 

Diseredarvi,  e  a  tórvi  ogni  speranza — 

Ammogliarmi,  se  è  d'  aopo  1 
Ef%.  E  vero  I 

Paé.     Or  bene 

La  sposa  che  v'  offersi  or  son  tre  meai. 

Ve  r  offro  ancor. 
Em.  Non  posso  :  amo  Noriiia  l 

La  mia  fede  è  impegnata  I 
Pot.     Si  !  con  anu  spiantata 

Con  uno  vedovella  civettina. 
Em.  [Con  calore.] 

Rispettate  una  giovine 

Povera,  ma  onorata,  e  virtaoaa. 
Po».     Siete  proprio  deciso  ? 
Em.  Irrevocabilmente  i 

Pa$.     Or  ben,  pensate 

A  trovarvi  un  alloggio. 
Em.     Così  mi  discacciate  7 
Pat.     La  vostra  ostinatezza 

D'  ogni  impegno  mi  scioglie. 

Fate  di  provvedervi — lo  prendo  moglie  ! 
Em.   [Nelle  massima  sorpresa.  \         Prender  moglie  t 
Pat.  Si,  Signore  ! 

Em.     Voi  ? 

Pat.  Quel  desso  in  carne  e  in  ossa  I 

Em.     Perdonate — lo  stupore  ! 
La  sorpresa  (oh  questa  è  grossa.) 

Voi? 
Pai.  [  Con  impazienza.  \  L'  ho  detto  e  lo  ripeto  : 

Io,  Pasquale  da  Corneto, 

Possidente,  qui  presente, 

Sano  in  corpo  e  sano  in  mente — 

D'  annunziarvi  ho  1'  alto  onore 

Che  mi  vado  ad  ammogliar. 
Em.     Voi  scherzate — 
Pat.  Scherzo  uu  corno  ! 

Lo  vedrete  al  nuovo  giorno 

Sono,  è  vero,  stagionato  ; 

Ma  ben  molto  conservato — 

E  per  foi"za  e  vigorìa 
Me  ne  sento  da  p^u^Uir 

Voi,  Signor,  di  casa  mia 
Preparatevi  a  sirattar 


Tes,  I  ara  born  again  !     Now  for  mv  nephew, — 
By  playing  tlius  the  careless  beedle^s  nairbraiiL, 
See  what  it  is  the  wise  and  wary  gain  I 

[Looking  of 

Ah  !  here  the  very  man  comes,  apropos  I 

SCENE  m.— Eritkbt  and  Don  Pasquau 

Pat.     You  are  jnst  come  in  time,  sir  :  I  was  going 
To  send  to  summon  yon.     Do  me  the  favor — 

Em.     Believe  me,  sir,  that  I'm  at  your  command. 

Pat.     I  am  not,  sir,  abont  to  preach  a  sermon  : 
I  do  bat  ask  a  minute's  brief  attention. 
Pray,  is  it  true,  or  is  it  not  true,  sir, 
That  by  the  calendar,  just  two  months  since, 
I  offer'd  you  the  hand  of  a  young  lady — 
Noble  and  rich,  and  beautiful  withal  T 

Em.     'Tis  true. 

Pat.  Promising  to  make  yon,  in  addition, 

A  good  allowance  now,  and  at  my  death 
Whate'er  I  might  possess  of  goods  and  chatt«i> 

Em.  'Tis  true  ! 

Pat.  [Menacing.]  In  case  of  your  refiisal  to  accede, 
Disinherit  you,  cut  off  all  hope. 
Marry  a  wtfe  myself,  if  I  thought  fit  ? 

Em.  'Tis  true  ! 

Pat.     Now,  then. 

The  wife  I  offer'd  you,  now  three  months  siiiu», 
I  offer  yon  again. 

Em.  I  love  Norina  ! 

My  faith  is  pledg'd  eternally  to  her  1 

Pcu.     Yes  !  to  one  of  min'd,  desperate  fortune- 
To  one,  a  little  vain  coquettish  widow. 

Em.  [Warmly.] 

Respect  a  young  nnblemish'd  female,  sir  : 
Poor,  it  is  true,  but  honor'd,  sir,  and  virtu  3  os 

Pat.     Have  you  thoroughly  decided  ? 

Em.  Irrevocably 

Pat.     Now,  then,  hear  my  decision,  sir  ;  and  thitk 
Of  straightway  finding  for  yourself  a  lodging 

Em.     Do  you,  then,  drive  me  from  your  favor  thus  ' 

Pat.     Your  stubborn  headstrong  obstinacy,  sir. 

Removes  all  claims,  dissolves  all  ties  betwt«D  or 
Provide,  sir,  for  yourself — I  take  a  wife  I 

Em.  [In  the  greatest  surprise.]         Take  a  wife,  sii  ' 

Pat.  Yes,  signor. 

Em.     You  ? 

Pat.  I,  myself,  in  bone  and  body  ! 

Em.     Pardon  me — I'm  in  amazement  ! 

This  is  a  surprise,  (the  ]>recious  noddy.) 
Youl 

Pat.   [Impatiently.]  I  have  said  it — I  repeat  it 
I,  Pasquale  of  Cometo, 
Proprietor,  here  present  stated, 

Sane  in  body,  in  mind  ditto- 
Announce — ^you'll  duly  estimate  it — 
I  marry  shall  without  delay. 

Em      You're  playing  on  me — 

Pat  On  the  horn  I 

You'll  to-morrow  morning  see. 
I  am,  'tis  true,  of  age  mature,  sir  ; 
But  well  preserv'd,  and  shall  endnre,  sir — 
For  strength  and  sprightliness  be  sure,  sir, 

I've  enough,  and  some  to  spare. 

As  for  you,  sir,  leave  my  bouse,  sir — 

Yes.  to  tramp,  decamp,  prepare. 


9 


DON   PASQUALF. 


Bft         (CS  Tolea  qaesta  mania 

I  miei  piani  a  rovesciar.) 
Sogno  soave  e  casto 
De  miei  prini'  anni,  addio  ! 
Se  ambii  ricchezze  e  fasto 
^  sol  per  te,  ben  mio. 
Povero,  abbandonato. 
Cadalo  in  basso  stato. 
Pria  che  vederti  misera. 
Cara,  rinunziò  a  te. 

Pat         Ma  veh  che  originale — 
Che  tanghero  ostinato  I 
Adesso,  manco  male 
Ei  par  'capacitato. 
Ben  so  dove  gli  duole 
Ma  è  desso  che  lo  vuole  ; 
Altri  che  sé  medessimo 
Egli  incolpar  non  de. 

Em.  [Dopo  breve  pausa.] 

Due  parole  ancor  di  volo. 

Ptu.  Son  qui  tutto  ad  ascoltarvi 

Snt-         Ingannar  si  puote  un  solo. 

Ben  fareste  a  consigliarvi— 
Il  Dottore  Malatesta 
£  persona  grave,  onesta. 

ft».        L'  ho  per  tale. 

firn.  Consultatelo 

Ptis.         E'  già  bello  e  consultato. 

''m.         Vi  sconsiglia'' 

Po*.        Anzi  al  contrario — 

Mi  felicita,  è  intantato. 

Em.  [  Colpitissimo.  ] 

Come  !  come  !  oh  questa  poi 

PoM.  [Confidenzialmente.] 

Anzi,  a  dirla  qui  fra  noi 
La — capite — la  Zitella  : 
Ma  silenzio — è  sua  sorella 

Bru.  [Agitatissimo.] 

Sua  sorella^he  mai  sento  t 
Del  Dottore  ^ 

Po».  Del  Dottore  I 

Em.         (Oh,  che  nero  tradimento  1 
Ahi,  Dottore  senza  cor!) 


Po, 


Em. 

Po* 
Em. 


Po» 
Em. 
Po» 
Em 
PoM 


Pat 


Em. 


Po: 

Em. 


(His  mania  comes,  mj  hopes  to  baniah— 
Comes,  to  ruin  all  my  plans.) 

Sweet  holy  dreams  I  loveid  to  cnerish 

Of  early  youth,  adieu  !  ye  vanish  ! 

If  I  e'er  long'd  for  riches,  splendor, 

It  veas  but  for  thee,  belov'd  ; 

But  now,  poor  and  abandon'd,  I, 

Reduc'd  from  my  condition  high, 

Sooner  than  thee  in  misery  see, 

Dearest,  I'll  renounce  thee. 

Now,  here's  an  origmai — 

Obstinate,  wrong-headed  ! 

Now,  better  (it  was  needed) 

He  seems  dispos'd — I  prayed  it. 

I  know  what  'tis  he's  (ireaded  ; 

But  that  is  what  I  wanted  ; 

Others  he'd  have  supplanted 

Shonid  not  by  him  accused  be. 
[After  a  short  silence.] 

Two  words  more,  sir,  I'll  speak  briefly 
I  am  ready,  sir,  to  listen. 

One  deceives  oneself,  sir,  chiefly. 
To  a  friend  for  counsel  hasten — 

Haste  to  Doctor  Malatesta  : 
He's  a  person  grave,  trustworthy. 

So  I  think. 

Consult  him  better. 

That,  thoroughly,  is  done  already. 

And  there''»  no  doubt  he  dissuades,  sir  ' 

On  the  contrary,  he  aids,  sir — 

Wishes  me  joy,  is  quite  enchanted. 
\Afttch  struck.] 

How  !  how  !  what's  this  *  has  he  recanted  ' 
[In  a  confiding  tone.] 

Between  ourselves,  don't  split  upon  her — 

The,  the — you  understand — ^young  Donna 

She  is  his  sister — mind,  now,  honor  I 
[Extremely  agitated.] 

His  sister — hear  I  aright  ?  the  Doctor  * 

Of  the  Doctor  ? 

Of  the  Doctor  ! 

(Ah,  what  dark  and  fatal  treason, 

Heartless  Doctor,  to  betray  mei) 


MI  FA  IL  DESTIN  MENDICO— K  BEGGAR  HAS  FATE  NOW  MADE  ME     Ewi««to 


^^5^1: 


:?^^z::aq^ 


il^ 


nm=^ 


^E 


tj 


Mi    fa 
A    beg 


il       destin    men-di  -  co 
gar  has  fate  now  made  me. 


per  -  do    CO    hi  che    a  -  do  -  ro       in 
and    her    I  must  lose  my  ador'd  one  I  He 


chi  credeva     a  - 
whom    I  tho't  to  t» 


^lÉi 


mi-eo       ah, 
friend  me,    ah. 


dis  -  copro   un  tra  -  di-tor  - 
I   find  out  him  a  traitor 


d'ogni  con-for  -  to    pri  -  vo 
Bent  of  each  joy  of    na  -  ture 


ml  se-ro  a  che  pur-vl  -  vo 
Why  seek  to  live  f  Ahi  m*I 


^H^^l 


•b    non   si    da    mar-to  -  ro 
Hov  can    I    bear    a  •  gainst  it  f 


equal    al  mio  mar-tor 
Unheard  of  mi  •  se  -  ryl 


^^^} 


:ffi 


^7=^ 


5=n: 


-lizi 


d'o 
Bent 


gnl    con  -  for  -  to  prI  ■  vo     ml 
of  each  joy    of    na  •  hirt,  Whf 


-H«- 


:3p: 


:?=?:=#: 


^ 


se-ro     a  che  ptir  vi-vo, 
seek    to  live  t  ah,  ne  t 


ah!.. 
How 


non  ai  da    mor-tor         e  -  gua    -    le       eguale,  a     mio  mar  -  tor. 
can  I  bear  against  it  f    Unheard       of,    unheard  of    mi  •  te  •    ry  I 


DON   PASQUALK 


[A  parte.]   L'  amico  è  Milo  «  ooMo, 
Is  lasso  par'  cambiato  I 
Non  fiata  !     Non  fa  motto— 
L'  afTojra  il  crepacuor. 
Si  rodti  :  g\ì  sta  bene 
Ha  quel  che  ^li  conviene  ! 
Impari  lo  sventato 
A  rare  il  be'lo  amor  ! 


\Entramb* 


SCENA  IV.— Stana*  in  Casa  di  Nonna. 
Emtra  Nobira,  cvn  un  libra  in  mano,  leggendo 

ftmr.         "E  tanto  era  in  quel  ^oardo 

Sapor  di  Paradiso  : 
Che  il  cavalier  Ricciardo 

Tutto  d'  Amor  conquiso 
Al  pie  le  cadde,  e  a  lei 

Kterno  amor  giurò  !" 


Po»    [Ande]  Oar  friend  indeed  seems  sorelj  tried  : 
As  stone  he's  almost  petrifiod  ! 
He  scarcely  breathes,  and  speaics  still  less  — 
lie'H  uuffbcated  with  distress. 
Well,  lei  him  fret .  it  serves  him  right — 
He  has  what  he  deserves  to-ni>jht  ! 
And  let  the  wilful  fellow  learn 
His  friends'  opinions  not  to  spurn. 

SCENE  IV.— An  Apartmmf  in  the  Houm  of  Norimm 
EnUr  NoKiiTA,  with  a  book  in  her  hand,  reading. 

Nor.     "  So  much  that  glance  revealing. 
Of  Paradise  was  telling  : 
Ricciardo  impyelling 

To  own  as  conqueror.  Love  ! 
To  that  sweet  maiden  kneeling, 
He  swore  he'd  faithful  prove  !" 


SO  ANCH'  IO  LA  VIRTU— I,  TOO,  THY  MAGIC  VIRTUES.     Solo.     Nobina. 


Bo  anch'  io      la    Tir  -  tìi        ma  -  gi  -  ca,    D'un  gaar  -  do  a  tem  -  pò  e    lo  -  co,  So  anch'  io    co  -  me       ■! 

I,      too,  ihy    'ma  •  yic       vir  -  lues  know,     Of  glance  well  tim' d    and    ten  -  der,  A        gen  -  tie  $mile,    bom 


'mmw^' 


533: 


m^km^^^m^w^^\ 


bra  -  da  -  no,         I      co  -  ri  a  len  -  to      fo  -  co!      D'un    bre  -  ve  sor    -     ri  set-to,    Conosco  anch'io  l'ef 

to     be  •  guile,        I  know — an  old    of  -  fend-tr  !         A      gen  -  tl»  smile,    bom        to  beguile,    I  know — an  old  0/ 


^^m^^M^mm'^'^m^m'^m  \ 


fet  •  to  !        Di 
/enduri        A 


men  -zo^'-ne  •  ra, 
hid-dvu  ttar,     u 


la  -  gri  -  ma,  D'un   su 
languor  near,   A      Ian 


bl    -  to        languor, 
-  guar...,      near. 


Co  -  no-9CO  1  mil  -  le 
I    know  the  mode,  oA 


*?=r-i-v- 


mo -di,           Dell'    a    -    mo  -  ro  -    se      fìro  -  di,               I        voz  -  zie      l'ar  -  ti  -    fa    -    ci  -  li, 
dear.  Of    love's    be  -  witch-ing    wiles,  His       fa  •  cite     arts    and  guiles 


Per 
To 


^=^j£l^E^iiE^t§^^^^ 


i^^^^m\ 


a    •    de  -  sca-re  un    cor, 
lure    with  wan  -  ton  smiles. 


D'un    bre  -  ve       sor 
A      gen  -  tie     smile 


ri    -     aet    -    to, 
bom      to  be- guile, 


Co  -  no  -  SCO  anch'io  l'ef 
I   know  an    old       rf  ■ 


—0 m >*-T 


ttx  •  to, 

ftnd    er. 


^^=^^^ 


Co     -     no  -   SCO, 
/        know    loo. 


CO 

/ 


no  -    SCO, 
know    too, 


^^m^ 


tin 
/ 


sn    -    hi  -  to        Ian  -    gnor. 
know    the  modes,    oh,        dear 


Ho  testa  balzana — 
Son  d'  indol  vivace  : 
Scherzare  mi  piace, 
Mi  piace  brillar. 
Se  vicn  la  mattana, 
Di  rado  sto  al  segno 
Ma  in  riso  lo  sdegne 
Fo  presto  a  cambiar. 
E  il  Dottor  non  si  vede 
Oh,  che  impazienza 


I've  a  giddy  head,  I  fear — 

Mine's  a  disposition  gay  : 
In  harmless  folly  I  delight. 

But  I'd  shine  in  fashion's  raj. 
Approach  should  melancholy, 

I  scarcely  can  myself  contain  ; 
But  anger  to  laughter 
I  change  (joickly  after. 
My  friend  the  Doctor  makes  not  hu  appeanubs*. 
On,  kow  impatient— anxiotu,  too,  T  am. 


IO 


DON   PASQUALE. 


Del  romaiHetto  ordito 

A  orabbar  Don  Pasquale  ! 

Ond'  ei  toccommi  in  fretta  : 

Poco  o  nulla  ho  capito,  ed  or  1'  aspetto. 

Entra  un  Servo,  le  porge  una  Lettera,  ed  etot. 
Sm    \Guardnndo  alla  soprascritta.] 

La  man  d'  Emesto  !     Io  tremo  ! 

[Legge,  dà  cenni  di  sorpresa,  fm  di  costemationr.. 
Oh,  me  meschina  ! 

SCENA  V.— Malatbsta  e  Nohiha 

Mala.  \  C-m  allegria.  ]     Buone  nuove,  Nonna  I 

Il  nostro  stratagemma — 
Sor.   [Con  vivacità.]   Me  ne  lavo  le  mani. 
Mala.  Come  !  che  fa  ' 
Nor.   [  Porgendogli  la  Lettera.  \   Leggete  ! 
Mtda.   [Leggendo.]  "  Mia  Nonna, — Vi  scrivo, 

Colla  morte  nel  cor.     (Lo  farem  vivo.) 

Don  Pasquale  aggirato 

Da  quel  furfante — (grazie  !) 

Da  quella  faccia  doppia  del  Dottore, 

Sposa  una  sua  sorella  : 

ili  scaccia  di  sua  casa — 

Mi  disereda  in  somma  !     Amor  m'  impone 

Di  rinunziare  a  voi. 

Lascio  Roma  oggi  stesso,  e  quanto  prima 

L'Europa.     Addio,  siate  felice  !     Questo 

El'  ardente  mio  voto  :  il  vostro  Ernesto." 

Le  solite  pazzie  ! 
fior.  Ma,  s'egli  parte  ! 

Mala.  Non  partirà — v'  accerto  :  in  quattro  salu 

Son  da  lui  della  nostra 

Trama  lo  metto  a  giorno,  ed  ei  rimane  ; 

E  con  tanto  di  cor  ! 
Sor.  Ma  questa  trama  : 

Si  paò  saper  qnal  sia  1 
Meda.  A  punire  il  nepote 

Che  oppone  le  sue  voglie, 

Don  Pasqual  s'  è  deciso  a  prender  moglie. 
Nor.     Già'  mei'  diceste. 
Maia  Or  ben,  io  suo  Dottore, 

Vistolo  cosi  fermo  nel  proposto. 

Cambio  tattica  e  tosto, 

Neil'  interesse  vostro,  e  in  quel  d'Ernesto, 

Mi  pongo  a  secondarlo. — Don  Pasquale, 

Sa  eh'  io  tengo  al  convento  una  sorella, 

Vi  fo  passer  per  quella  ! 

Egli  non  vi  conosce,  e  vi  presento 

Pria  eh'  altri  mi  prevenga  ; 

Vi  vede  e  resta  cotto. 
Sor.  Va  benissimo. 

ìdolo.  Caldo  !  caldo  !  vi  sposa  :  ho  prevenato 

Carlotto,  mio  cugino, 

Che  farà  da  notaro  ;  al  resto  poi — 

Tocca  pensare  a  voi. 

Lo  fate  disperar. — Il  vecchio  impazza, 

L'abbiamo  a  discrezione — 

AUor— 
Sor.     Basta — ho  capito  1 
Mala.  Va  benone. 

.A/or.     Pronta  son  ;  purch'  io  non  manchi 

All'  amor  dell  caro  bene. 

Farò  imbrogli — farò  scene. 

Mostrerò  quel  che  so  far. 
Mala.  Voi  sapete  se  d'Ernesto 

Sono  amico,  e  ben  gli  voglio  , 
Solo  tende  il  nostro  imbroglio 

Don  Pasquale  a  corbellar. 
Sor.     Siamo  intesi— or  prendo  l'imp  egno. 


For  the  romance  his  wisdom  has  projected 
To  hoax  the  sapient  worthy  Don  Pasquale  ! 
Of  which  the  Doctor  gave  me  a  small  hint  ; 
I  -tcarcely  understand  it — I  wait  for  him. 

Enter  a  Servant,  who  gives  her  a  Letter,  and  goes  oitf. 
Sor.    [Looking  at  the  address.] 

The  hand  of  Ernest  !     I  tremble  with  alarm  ! 
[Reads,  and  shows  manifest  sighs  of  fear  and  tmf>r\m 
Ah,  unhappy  me  ! 

SCENE  v.— Malatbsta  and  Nobiha. 


.Vor. 
Mala 
Nor. 
Meda 


Mala,   htrai/y.]     Good  news,  Norina  ! 
Our  strategcm — 
[Hastily.]   I  wash  my  hands  of  it. 

How  !  what  is  it  you  are  telling  me  ' 
I  (riving  him  the  Letter.]  Read  !  read  ! 
[Reading.]   "  My  dear  Norina, — I  write  to  yon. 
Death  in  ray  heart.     (I'll  bring  him  soon  to  life  I 
My  uncle,  Don  Pasquale,  influenc'd 
Bt  that  vile  rogue — (A  hundred  thousand  thank» 
That  double-fac'd  old  hypocrite,  the  Doctor, 
Marries  a  sister  of  this  specious  villain  : 
Me  he  drives  forth,  in  anger,  from  his  house — 
In  short,  he  disinherits  me  !     Love  commands, 
Imperatively,  that  I  should  renounce  you. 
I  shall  leave  Reme  to-day,  and,  soon  as  possible, 
Quit  Europe  too.     Adieu,  be  happy  !     This 
Is  my  most  ardent  wish  :  yours  ever,  Ernest" 
The  usual  follies  ! 

Ah,  but  if  he  goes  ! 
He  will  not  go^I  say  so  :  in  four  skips 
I  shall  be  with  my  gentleman.     Then  oar 
Rare  plot  I'll  let  him  into,  and  he'll  stay  ; 
Ay,  and  with  all  his  heart,  too  ! 

But  this  plot  : 
May  I,  pray,  be  allowed  to  know  what  it  is  * 

Mala.  To  punish,  as  he  thinks,  his  graceless  nephew, 
Who  dares  rebelliously  oppose  his  wishes. 
Pasquale  has  resolv'd  to  take  a  wife. 
You  told  me  so  before. 

Well,  this  Doctor, 
Seeing  he's  so  firm  in  this  idea. 
Have  changed  my  tactics,  and  soon — very  soon 
For  your  own  interest,  and  for  that  of  Ernest, 
I,  to  begin  with,  second  him. — Don  Pasquale, 
Knowing  that  I  have  a  sister  in  a  convent — 
Why,  I  intend  to  pass  yon  off  for  her  ! 
He  does  not  know  you,  and  I  shall  present  yoo 
Before  by  others  I'm  anticipated  ; 
He  sees  you,  and  he's  done  for. 

Excellent  ! 
Hot  !  hot  !  I  wed  you  to  him  :  I've  prepared 
That  clever  fellow  Charles,  my  trusty  cousin. 
To  play  the  notary  ;  and  for  the  rest — 
Why  all  the  rest  will  rest  with  you,  that's  all. 
You  drive  him  to  despair — old  fool,  distracted 
He  then  will  be  completely  at  our  mercy. 
Then— 
I  understand — enough  ! 

Nought  can  be  better. 
I'm  ready — anything — so  I  lose  not 
The  lore  of  my  ador'd  one.     My  belov'd, 
I'll  make  perplexities — will  fashion  scenes  ;-- 
In  short,  I  soon  will  show  what  I  can  do. 
Mala.  You  know,  and  can  of  Ernest  tell. 
If  I'm  a  friend,  ami  wish  him  well  ; 
Our  plot  but  tends,  you  may  believe, 
Don  Pasquale  to  deceive. 
Nor.    We'i«  qoite  agreed,  and  I'm  enlisted. 


Nor. 
Mala 


Ni 


Nor. 
Maia 


Nor. 
Mala 


AV. 
A   Ua. 

A  IT 


DON    PASQUALE. 


13 


Sor. 
hfaia 
Nor. 
ìtala 

Sor. 


Mala 

Sor. 
Mala 
Sor. 
Mais 


S» 


Maia. 


Io  la  parte  ecco  r'  insetto. 

Hi  volete  fiera,  o  mesta  ? 

Ma  la  parte  non  è  questa. 

Ho  da  pianger — da  j^ridar? 

State  un  poeo  ad  ascoltar  ; — 

Convien  tìar  la  semplicetta. 

Posso  in  queistu  dar  lezione. 

"  Mi  Tergogno — son  zitella — 

Grazie — serva — Signor,  si." 

Brava,  brava,  briccoin-ella  ! 

Va  benissimo  cosi 

"Collo  torto." 

Bocca  stretta. 

"  Mi  vergogno." 

Oh  bene<letta  !  va  ben  issimo  coti  I 

Or  si  vada,  or  andate 
Or  si  vada,  )  ,  ■ 

Or  andate.  S'^'^'^'^- 
A  quel  vecchio,  affé,  la  testa. 
Questui  volta  ha  da  girar. 
Già  r  idea  del  gran  cimento, 
Mi  raddoppia  V  ardimento  ; 
Già  pensando  alla  vendetta. 
Mi  comincio  a  vendicar  ; 
Una  voglia  avara  e  cruda 
I  miei  voti  iuvan  contrasta. 
Io  r  ho  detto  e  tanto  basta, 
La  saprò,  la  vò  spuntar. 
Poco  pensa  Don  Pasquale, 
Che  boccon  di  temporale. 
Si  prepari  in  questo  ponto 
Sul  suo  capo  a  rovinar. 
Urla  e  fischia  la  bufera  : 
Vedo  il  lampo,  il  tuono  ascolto 
La  saetta  fra  non  molto, 
Sentiremo  ad  iscoppiar. 

PINS  dell'  atto  nm9. 


'  Contraffacendo. 


I  L'ontraffacetido. 
I  Contraffacendo . 


ATTO    II. 

SCENA  I. — Salone  narapetialo,  aJdobato  con 
Hcenza  ed  eleganza. 

Ernesto,  solo. 
* 
Povero  Ernesto  !  dallo  zio  cacciato, 
Da  tutti  abbandonato, 
Mir  estava  un  amico 
E  un  coperto  nemico, 
Dis  copro  in  lui 
Che  a'  danni  miei  eongiìira  ; 
Perder  Norina  !     Oh,  Dio  1 
Ben  feci  a  lei  d'  esprìmere 
In  un  foglio  i  sensi  miei  : 
Ora  in  altra  contrada. 
I  giorni  grami  a  trasci  nar  sivadiL 


Maia. 

Sor. 

Mala 

Nor. 
Mala. 

Sor. 


Mala. 

Sor. 
Maia. 
Nor. 
Mala. 


Nor 


Maia. 


Tour  part  by  me  must  Oe  usisted. 

Would  yon  nave  me  gay  or  tearfni  * 

The  pan  is  neither  sad  nor  cheer  fai. 

Have  I  then  to  weep — to  scold  ? 

Listen,  and  you'll  all  be  told  ; — 

You  must  play  sim[)licity. 

I'll  lessons  give — leave  that  to  me.  Arfùt^ 

"  I'm  so  confused — I'm  young,  yon  know — 

Thank  you — Your  servant, — Yes,  sir, — Oh!" 

Bravo,  bravo,  capital  ! 

It  can't  be  better — all  goes  well  ! 

llead  turned  aside — "  Oh  fie  !  oh  fie  !"  [.^din^ 

Pursed-up  mouth — Ashamed  am  I.  [.^ctiny 

"  I'm  quite  confus'd,  my  thoughts  take  yfiag — " 

Oh,  clever  creature  I  just  the  thing  ! 

[Together.] 
What  a  fine  game  ! — all  that's  farther  remaining 
Must  now  be  arranged, — our  wishes  obtaining 
Of  this  old  fool,  all  sense  who  spuru'd  ; — 
This  time  tlie  head  will  be  quite  tum'd. 
Th'  idea  of  this  enterprise 
Fresh  courage  to  my  heart  supplies  ; 
Already  of  my  vengeance  dreaming, 
I  seem  revenged — such  joy's  in  scheming — 
A  cruel  avaricious  soul 
In  vain  my  wishes  shall  control — 
I  have  said  it — it  suflSces — 
I  know  how  to  cure  his  vices. 
Little  thinks  poor  Don  Pasquale 
What  a  wordy  tempest  really 
Is  preparing  at  this  moment. 
To  rush  upon  him  for  his  torment  : 
The  whirlwind  howls — spreads  fear  and  wonder 
I  see  the  lightning,  hear  the  thunder — 
The  thunder-bolt,  before  long,  all 
Will  hear  in  barsting  vengeance  fall. 

KND    OF    THE    KlUST    ACT. 


ACT    II. 

8CSNB  L— ^  prepared  Saloon,  fumithtd  with   Uu 
tHogniJicence  and  elegance. 

Ernest,  alone. 

Poor  Ernest  I  !     Tum'd  out  by  my  ancle, 

By  all  abandon'd  ! 

Even  he,  whom  I  believed  to  be 

An  earnest  friend  to  me, 

I  now  discover 

To  be  my  secret  enemy  ! 

Lose  Norina  !  oh.  Heavens  ! 

'Tis  well,  that  iu  a  letter 

To  her  I  have  my  soul  unburden'd. 

I  shall  now  in  another  country 

Spend  my  weary  days. 


CERCHERÒ  LONTANA  TERRA— \  SHALL  SEEK  A  FAR-OFF  SPOT.     EjuresTO. 

'  K 


Cer  -  che  -  rò    Ion  -  u  -  na 
/    thaU  —tk    a    far  -  ^ff 


terra  do  -  ve    ge-mer         ico  -  nos  -    ciu  -  to,         là    vi-vrò  al  cuo-re  ii 

^pet        wktrt  W0      «M  M  my  ^-irfin  -  trvdetli--      then  nicKeriah  Imt  ome 


la 


DON   PASQUALE. 


"^m^^^^^m^^m^mm^^^^m 


gaerra         de  -  pio  -  rando  il    ben  per  -  da 
thouyht        of     the   faithless    one  who    left 


to 
me. 


de  -  pio  -  rando  il    ben  per  -  da 
of    the    faith-leis    one  who     left 


to 
me! 


Ma     né       sor  ■  te    a      me 
Not    the       tricks  of         m 


ne 
crtt 


^ 


fm^ 


^=^=F^ 


mar,    ti      po  -  tran-no     dol-ce  a  -  mi     ca 
thoughts,  nor  ef-face  thy    charming  pic-ture. 


^53$ 


mi  -  ca      né      frap  -  pos  -  ti,         men  -  tl       e 
enemies     will      dis  -  turb  there  the  current  if  m\ 


dal  mio    co  -  re, 
stoeet  No  -  ri  -  na. 


can  -  eel  -  lar 
in     my    heart  1 


Non  •  ti     po 
No,  not    the 


tranno    dal    mio   co  -  re  can  -  cel-lar    non  •  ti     po  -  tran-no    car'    a  -  mica    dal  mio  co-re  can-cel-lar. 
tricks  of     cru  -  el      en'mies    will  disturb    the    eur-rent      of    my  tho'ts,  nor  darken  thy  sweet  picture  in  my  heart  : 


E  SJ?  FI  A  CHE  AD  ALTRO— IF  ONE  DAY  PERHAPS  YOU  PALTER.     Ebnbsto. 


E  se  fia    che  ad  al    -    tro  og    -    get  -    to  tu         ri    -     voi  -  g:a  un    gior  -    no  il 

Xf        one  day    per  -  haps      you  fai  •  ter  In        the  love      to         me         you 


co-re     Se    mai        fla    che  un  al  -  tro  af-fet-to    spenga    in      te   Tanti  -  co  ar  -  do    -    re        non        te 
cherish       I    shall    grieve  not,  hearts  may    al-t^.     Fondest         love  may  roane  and  per  -    ish,       Fear      my 


È;^E^^J=g=g^=^-£=T 


mercheun  in  -  fe    -    11  -  ce     te    sper  •  giura       ac  -  cu  -  si      al    ciel    se 
curses      not,  for       nev-er,    by  th'  af  -  fee    ■    tion    I     once  bore  thee  shall 


sei     ben    mio       fe 

curse  Ihee;  if  we 


i^ÉMl^^^Élìi^ifi^iitlift 


li  -  ce       sa  -    rà       pa-go        il    tuo       fe  •    del  sa   •    rà 

sever      May    he       hap    -     pi -ness     be  -  fore  thee,  may     be 


pa  -  go  il    tao        fe    -    del     sa  -  im 
hap  -  pi    -    ness      be  -  fore  thee,  may  be 


'^^m^^mm^mM^^mE^i 


pa  -  go  U  tao  fe  -  del  sa  •  rà 
hap  -piness  be  •  fore  thee,  may  be 
0^ 


pa-go     il    tuo      fe 
hap     -  pi  -  ness    be 


del,        se    tu     sei    ben    mio        fe  • 
fore  thee  l  If  we     sev  -  er      sweet        No 


M^^^^^^^^ìm 


*rr 


i 


3^ 


Il  -    ce  mor 

ri  -  na,  may 


?^ 


rà        pa-go  il       tuo        fe    -   del      si        mor  -  rà 

òe         hap    -  •    pi  -    ness      be    -  fore    the^,    may      be 


pa  •    go       mor   -    ri 

hap  -  pi    -  ness        be 


m^^M 


eÉZ;;t:B:^= 


p* 

fon 


thee. 


go         il      tuo fe     -      del,  U  tuo 

may      be     hap  ■  pi    -    neu  be  •  fore  thee,    hap-pi  -    ness  be 


DON   PASQUALE. 


18 


Dem  Pasqvaui,  m  gnm  gala,  aegmU  dm  m  Strv»  Enter  Don Pasquaus,  in  grand  eoitìtme,  ibllowt  ibifa  Strvam 


[Al  SfTt-o.] 
Qnando  avrete  introdotto 
Il  Dottor  MalAte«ta,  e  chi  è  con  Itii, 
Ricordatovi  bene — ■ 

Nessuno  ha  pili  da  entrar  :  gnai  se  laacUu 
Rompere  la  consegna  I    Adesso  andate.     [«Scnw  via. 
Per  un  uom  sui  settanta — 
(Zitto,  che  non  mi  senta  la  sposina)  — 
Convien  dir  che  son  lesto  e  ben  portAnie 
Con  questo  boccon  poi 
Di  toillete — [Si  pavonepgia] — alcun  none 
Eccoli  !     A  te  mi  raccomando,  Imene  ! 


SCENA  II.— Entra  Ihttore   Malatkita. 
mono  NoUHA,  velata. 


oimduc^tde  ptr 


kfala.  Via  da  brava  ! 

Sor.  Reggo  app«ii«: 

Tremo  tutta  I 
Maia.  V  inoltrate  ! 

[Neil'  atto  che  il  Dottore  fa  inoltra  Norint^  oercnna  cx)lla 
ntano  a  Pasquale  di  mettersi  iv  disparU      Pamfwdi 
ri  rincantuccia. 
Ah,  fratel,  non  mi  lasciate  ! 
Non  temete  ! 

Per  pietà — 
[Appena  Norina  è  sul  davatiti  dà  prmcmàt,  ii  IMtort 
corre  a  Pasquale. 
Fresca  uscita  di  convento, 
Naturale  è  il  turbamento  : 
E  per  tempra  un  pò  selvatica  ; — 
Mansuefarla  a  voi  si  sta. 
Ah  fratello  1 

Un  sol  momento — 
Se  qualcun  venisse  a  tin  tratto— 
(Sta  a  vedere,  vecchio  matto, 
Ch'  OF  ti  servo  come  va  I) 
Mosse,  voce,  portamento 
Tnito  è  in  lei  semplicità  ! 
La  dichiaro  un  gran  potento, 
Se  risp)onde  la  beltà  ! 
Ah,  fratello  ! 
Non  temete  ! 
A  star  sola,  mi  fa  male  ! 
Cara  mia,  sola  non  siete. 
Ci  son  io,  e'  è  Don  Pasquale. 
[Con  terrore.]   Come— un  nomo  I 
Ah  me  meschina  ! 
Presto  andiam — fuggiam  di  qaà  I 
(Com'  è  cara  e  modestina 
Nella  saa  semplicità  !) 
Quella  scaltra  melandrina 

Impazzire  lo  farà.)  [il  ^«^«a 

Non  abbiate  paura,  è  Don  PasqaaW, 
Padrone  e  amico  mio. 
Il  re  dei  galantuomini. 
[Don  Pasquale  si  confónde  in    inektm  :    fttrmm  m»  i» 

k  guarda. 
i  Norina.] 
ispondote  al  saluto  * 
Fa  la  reverenza  senza  guardar  Don  PaagmaU.  I 
Grazie — serva,  Signore. 
(  Che  bella  mano  !  ) 
(E'  già  cotto  a  quest'  orai) 

(Ob,  che  bac(iaBo  I 


Nor. 

Mala. 

Nor. 


kfala. 


Nor. 

Mala. 

Nor. 


Pas. 


Nor. 
Mala 
Nor. 
Mala. 

Ni 


Pas. 

Mala. 


Mala. 

No,.  I 

Po» 

Mala 
Not. 


[Dori    Pa»quale  dispone    tre  sedie  ;    ■W»«i    DoOi» 
mezzo. 
Mata.  [A  PasqwUe] 
Che  ne  dite  * 


/'(u.    [7^0  .Smyint.] 

Wlion.  OH  his  coming,  jou  have  introduc'd  .  . 

Doctor  Malntesta,  and  «W  who  will  l)e  with  him,    /  KA/'L 

Remember  well — let  there  be  no  inistAke'^  ' 

No  one  admit  :  woe  to  yon  if  you  let 

Any  one  enter  I      Now  llieu,  vunisli.      [Erit  S*ri<a>u 

Come,  for  a  man  that's  turn'd  of  seventy — 

(Softly,  I  must  not  let  my  intended  hear)— 

All  must  allow  at  least,  I'm  well  and  active. 

And  with  this  taking — this  killintr  Rtyle 

Of  dress — [Parading   about] — but    caution,    there  u 

some  one  coming  ; — 
They're  here  !     To  thee  I  yield  myself,  oh,  Love  ' 

SCENE  n. — Enter  Doctor  Malatesta,  leading  it.  Noa:*  4, 
veiled. 

Mala.  Come  on, — take  courage  ! 

Nor.  I  can  scarcely  itand  ' 

I'm  trembling  all  over  ! 
Mala.  Come,  advance  1 

[At  the  moment  thai   the  Doctor  leads  Norina  fonoard,  4t 
make»  a  sign  with  his  hand  to  Don  Pasquale  to  foL 
hack.     Don  Pasquale  shrinks  into  a  comer. 
Nor.     Ah,  my  brother,  do  not  leave  me  thus  I 
Mala.  Do  not  fear,  trembler  ! 
Nor.  In  pity,  brother— 

[Norina  has  scarcely  reached  the  front  of  the  stag*  &«/W« 
the  Doctor  runs  to  Don  Pasquale. 
Mala.  \To  Pasquale.]  Newly  coming  fix)m  a  convent, 
Natural  is  her  confusion  : 
By  nature  she's  a  little  shy  ; — 
You  will  mould  her,  by-and-by. 
Nor.     Ah,  my  brother  ! 
Mala.  But  a  moment — 

Nor.     But  think,  should  any  one's  intrusion— 
(You  shall  soon,  you  old  fool,  see 
How  I  mean  your  heart  to  torment  I) 
Pas.     Air,  voice,  and  gesture,  all  agree, — 
All's  in  her  simplicity  ! 
She'll  shine  all  prodigies  beyond, 
If  beauty  does  but  correspond  ! 
Nor.     Ah,  brother  ! 
Mala.  Do  not  be  afraid  ! 

Nor.     But  by  myself  to  stay — a  maid  ! 
Mala    My  dear  girl,  you'll  not  be  alone  I 
Here's  myself,  and  here's  the  Don. 
Nor      How  !     Oh,  my  virgin  heart  !  a  man  I 
How  dreadful,  nothing  beat  it  can  ! 
Let's  go  directly — fly  this  place  ! 
!  Pom      How  charming,  modest,  is  the  grace 

Of  her  sweet  simplicity.  • 

Maia.   (This  cunning  wicked  little  one 

Will  drive  him  mad  before  she's  done.)    (  To  Norim^ 
Fear  nothing,  it  is  only  Don  Pasquale, 
A  j)atron  and  a  friend  of  me  and  mine, 
Who  long  has  reigned  the  king  of  all  good  ^Bllows 
[  Don  Pasquale  makes  a  profusion  of  botes  ;  Norma  dom 
not  look  at  htm 
Mala.    \To  Nor^tui  ] 

Why  do  you  not  acknowledge  his  salute* 
.\^     I  Curtsies,  without  looking  at  Don  Pasquale.] 

Thank-ye,  I'm  much  obliged — your  hnmble  Mrrajii 
i  fas.     (Oh,  what  a  dear  delicious  little  hand!) 
'  Mala.  (His  goose  i»  cooked  already  !) 
'  .Wor.  '  (  What  a  blockhead  l  ) 

(  Don  Pasquale  arrange*  three  chairs  ;  theif  sit  down,  ob 
Doctor  in  the  middle. 
Mala.  [To  Pasquale.] 
I  Now,  candidly,  what  do  yon  >ay  to  her  * 


14 


DOM   PASQUA  LB. 


Pa»,  (E'  an  incanto — ni  a  qnel  relo — ) 

Haia.  Non  oseria,  son  certo, 
A  ftenibiante  sroperto 
Parlare  a  nn  aom.     Prima  I' interrogate  ; 
Vedete  se  nei  gusti  r'  incontrate, 
Poscia  vedretn — 
PfM      (Capisco  ; — Andiara,  coraggio.  |  A  y orina. 

Foste  eh'  ho  1'  avvantaggio — 

[ò"  imbrogtia. 
Anzi  il  Sif^nor  fratello, 
H  Dottor  Malatesta — 
Cioè — volevo  dir — 
Mala.  [A  Norina.]  (Perde  la  teMa  I) 

Kispondete  ! 
^V .  [Facendo  la  Riverenza.] 

Son  serva  !  mille  grazie  I 
Mm.   [A  Norina.] 

Volea  dir  eh'  alla  sera 
La  signora  amerà  la  compagnia^ 
Nm-.     Niente  affatto.     Al  convento 

Si  stava  sempre  sole. 
Pa$.     Qualche  volta  al  teatro  » 
.V«r.     Non  so  che  cosa  sìa,  né  saper  bramo 
Fa».     Sentimenti  eh'  io  lodo. 

Ma  il  tempo  nopo  è  passarlo  in  qoalehii  mode. 
.Vor.     Cucire,  ricamar,  far  la  calzetta. 
Badare  alla  cucina  ; 
Il  tempo  passa  presto. 
Mala.  (  Ah  Malandrina  I  ) 

Paa.  [Agitandosi  tulla  tedia.] 
Fa  propria  al  caso  mio. 

[Al  Dttpn. 
(Quel  Tel  per  carità  I) 
Èlaìa.  Va  Norina.]  Cara  Sofronia, 

Kimovete  anel  velo. 
Nor.  [  Vergognosa.]  Non  oso — in  faccia  a  on  aom. 
alala.  Ve  lo  comando. 

Nor.    Obbedisco,  fraiel.  [.Si  togU»  U  m^. 

Pat.   [Lk^  aver  la  guardata,  Usoandoti    a    uà   tratto,   aaamte 
addietro  come  spaventato.] 
Misericordia  I 
Mala.  [Tenendogli  dietro. ] 

Che  fu  ?  dite  :— 
Po».     Una  bomba  in  mezzo  al  oom. 

[Agitatummo. 
Per  carità.  Dottore. 
Ditele  se  mi  vuole . 
Mi  mancan  le  parole — 
Sudo,  aghiaccio— «oa  motto  ) 
Mala.  [Piano,  a  Don  PaiquaU.]         (Fata  oera! 
Mi  sembra  ben  disposta  :  ora  le  parlo.  ) 

\A  Norma,  ptan». 
Sorellina  mia  cara  : 
Dite,  vorreste^in  brave, 

Quel  signore.  [Aoaoma  Dem  PamptaU. 

vi  piace  f 
Sor.  f  Con  un  occhiala  a  Don  Pasquale,  eh*  n  rtn^iutao.  | 

A  dirlo  ho  soggezione. 
MiMta.  Coraggio! 

Nor.  [Timidamente.]    Si-     ( Sei  pare  il  pran  babUons  ! ) 
Mala.  VI^oma$uio  a  Don  PatquaU.] 

Consente  :  è  vostra  ! 
Pcu.  I  Con  transporta.]  Oh,  giabilo  I 

Beato  me! 
N«r.     (Te  n'  avvedrai  fra  poco  I) 
Pas.     Or  presto  pel  Notaro  ! 
Main    Ho  tolto  meco  il  mio  oh'  è  ia  ■iniiaMwn 

Or  I'  introduco.  ,  Ittt* 

Pas.  Oh  caro  ! 

Quel  Dottor  pensa  a  tatto  * 
Maia.    [RietUrando  col  Notaro.  ]  Kcuo  li  Nota<-^  ' 


Pas.     (  She's  a  complete  enchantrvts, — bat  that  veil  —  ) 
Mala.  She  would  not  dare, — of  that  I  am  quite  certain, 
She  is  so  shy — with  an  uncover'd  face, 
To  spean  to  a  live  man.     First  question  hei  , 
See  ijf  your  tastes,  year  sentiments  agree  ; 
Then  to  behold— 
Pas.     I  anderstand  ; — Come,  courage.  [To  Noriitm 

Since  I  have  the  favor — the  advantage.  Mis» — 

[Confutes  himati/ 
As  my  esteemed  friend,  the  Signor,  yonr  brother, 
Your  worthy  brother.  Doctor  Malatesta — 

That  is — I  mean  to  say — 
Mala.  [To  Norina.]  (He's  lost  his  senses  !) 

Reply  ! 
Nor .   [  Curtsying.  ] 

Yonr  servant.  Sir  !     A  thousand  thanks  ! 
Pas.  [To  Norina.] 

I  meant  to  say  that  in  the  evening);,  Miss — 

For  the  young  lady,  doubtlessjijij,  likes  company — 
Nor.     Oh,  not  at  all  !     In  fact,  sir,  at  the  convent, 

We  always,  all  of  us,  remain'd  alone. 
Pas.     Well,  but  you  sometimes  wish'd  for  the  theatre  ' 
Nor.     I  don't  know  what  that  is,  and  don't  desire. 
Pas.     Sentiments  that  I  highly  must  approve  ; — 

But  one  must  pass  the  time  some  way  or  other  Ì 
Nor.     In  sewing  and  embroidery  ;  knitting  stockings  ; 

Superintending,  too,  'tween  whiles,  the  kitchen. 

Time  passes  quickly  then. 
Mala.  (Ah,  wicked  baggage  I) 

Pas.  [Moving  in  his  chair.  | 

The  very  thing  for  one  in  my  condition  ! 

[TotheDodm 

That  veil,  for  pity's  sake — 
Mala.  [To  Norina.]  My  dear  Sophronia 

Komove  that  veil — remove  that  envious  veil  1 
Nor.  [Bashjully.]  Before  a  man  !  I  dare  not  ! 
Mala.  I  command  you  I 

Nor.     I  obey,  brother  :  there,  sir  !  [  Takes  off  lier  vml. 

Pas.   [Havir^  looked  at  her,  tpringt  up  suddetti^,  and  gom 
hack  as  if  frightened.] 

Mercy  on  me  ! 
Maia.  [Holding  him  back.] 

That  sudden  start — those  words  !  what  was  it  *  say  I 
Pas.     A  bombshell  in  the  centre  of  my  heart. 

[Extremeiti  agitaUd. 

In  charity — for  mercy's  sake,  dear  Doctor  ! 

Do  only  ask  her  if  she  will  but  have  me . 

I  want  words,  Doctor — I'm  spiflicated — 

I  flush — I  freeze— dumbfounder'd  quite  ! 
Mala.  [Low,  to  Don  Pasquale.]         (Take  heart  I 

She  seems  dispos'd  to  favor  vou  :  I'll  speak  to  her.  ) 
[  To  Norina,  in  a  low  m*e». 

Hear  me,  my  darling  little  «ister  : 

Say,  candidly — say,  would  you  like,  in  short. 

That  gentleman.  [Pointing  to  Don  PntqumU 

Think  well — how  does  tic  please  vou  1 
Nor.   [  With  a  glance  at  Don  Pasquale,  who  thowt  hit  delight.] 

I  feel  incliii'd  to  say  I  think  he  does. 
Mala.  Courage,  Sophronia! 
Nor.  ITimidly.]    Yes.     (The  great  baboon  !) 
Mala.  [Turning  to  Don  Pasquale.] 

You  hear,  Don  :  she  consents — she's  yours  1 
Pas.  [  With  transport.]  Oh,  joy  ! 

Oh,  happy,  happy  man  !  bless'd  that  I  am  I 
Nor.     (I  will  convince  you  of  your  bliss,  ere  long  I) 
Pas.     Now,  quickly  for  the  Notary,  dear  friend  ! 
Mala.  I  have  brought  mine — he's  in  the  anti-chambar 

rU  straightway  introduce  him  here.  (  Egm 

Pat.  Delightfdl  I 

The  Doctor  thinks  of  everything  I 
Mala.  [R^^nttring  with  tk*  Notary]         The  Notary  I 


DOM   PASQUALE 


16 


SCENA   n.—Notarx>  «  Joto. 

Dm  Pasqualb  e  NosiifA  tediai.— I  •eroi  di$yomgfMo  m 
wtexxo  alla  Scena  un  Tai'olo  coli'  occorrente  da  acriveit  :  toprm 
a  Tatvlo  $iird  un  ramiKiiiello. — Sotaro  taluta,  mede  t  t* 
accinge  a  tcrivert  ;  iJottore,  in  pitxli,  a  dettra  dd  Moutro, 
come  dettandogli 

Mala.       Fra  da  una  part* — et  cfitru, 

SofroDia  MalatcHta, 

Domiciliata — et  cetera  , 

Con  tutto  (juel  che  resta  ; 

E  d'  altra  pane — et  cetera. 

Pasquale  da  Cometo, 

Coi  titoli  e  le  forinole 

Secondo  il  consueto  : 

Entramt)i  qui  presenti, 

Volenti,  e  consenzienti, 

Un  matrimonio  in  regola, 

A  stingere  si  va  ! 
Mm.   [Al  Notare.  )   Avete  messo  1 
Ni)t.  Ho  mesM. 

Pat.         Sta  ben  !  [  Va  alia  aùiutm  dd  ^ttar*. 

Scrivete  appresso —  [dim» 

Il  qua  prefato — et  cetera. 

Di  quanto  ej^li  possiede — 

In  mobili  ed  immobili — 

Dona — tra  i  vivi— e  ctdt, 

A  titolo  gratuito, 

Alla  suddetta — et  cetera. 

Sua  moglie  dilettissima. 

Fin  d'  ora,  l:i  metà. 
Ntt.        Sta  scritto. 
Po*.  E  intende  ed  ordisa 

Che  sia  riconosciuta 

In  questa  casa  e  fuori, 

Padrona,  ampia,  assolata, 

E  sia  da  tutti  e  singoli. 

Di  casa  riverita — 

Servita — ed  obbedita. 

Con  zelo  e  fedeltà. 
Mala.  «  Nor.    [A  Don  Pasquale.  \ 

Rivela  il  rostro  core 

Quoat  atto  di  bontà. 
N<^         Steso  è  il  contratto  :  restano 

Le  firme — 
PoM.  [Sottoscrivendo  con  vivacità.]    Ecco  la  miai 


Mala. 


Mala.   I  Conducendo  Norina  al  tavolo,  con  dolca 

Cara  sorella,  or  via 

Si  tratta  di  segnar  ! 
Noi.         Non  vedo  i  testimonii  : 

Un  solo  non  può  star. 
[Mentre  Norina  sta  in  atto  di  tottotcriver»,  m 

di    Emetto  dalla   porta   (f  ingretao  :    Ni 

cader  la  penna. 
Em.  [Di  dentro.]   Indietro,  raascalroni  ' 

Indietro,  io  voglio  entrar  : 
Sor.         (Ernesto  !  or  veramente 

Mi  viene  da  tremar  !  ) 
Mala.        (Può  tutto  rovinar!) 

SCENA  III.— Erhbito,  « 


P<u. 
Net. 
Po* 


8CENB  n.—The  Notary,  and  the  oUimr* 

Don  P^agUALB  and  Norina  seated. — ServanU  arraitg*  '» 
cA«  middle  of  the  Stage  a  Table,  rtnth  writing  material» . 
upon  the  Table  is  a  Bell. —  The  Notary  bows,  u%j3ìm  himml/, 
and  begins  to  write  ;  the  Doctor  standing  to  the  right  oj  Mi 
Notary,  as  if  dictating  to  him. 

Between,  on  one  part — et  cetera, 

Sophronia  Malatesta, 

Residing  at — et  cetera  ; 

And  all  remainders  over  : 

And  on  the  other  part^— «f  cetera. 

Pasquale  of  Cometo, 

With  titles  and  formulas 

From  custom  immemorial . 

Both  of  them  being  present, 

And  willing  and  consenting, 

A  marriage  legal,  valid, 

Are  going  now  to— cancel  ! 
[  To  the  Notary.]  Have  yon  written  t 

I  have  written. 

Very  good  !  [  Goes  to  the  Ufi  of  the  Nattr^ 

You,  men,  will  write,  now —  \As  if  i" 

The  aforesaid  Don— ^  cetera. 

Of  whatever  he  is  possess'd — 

Moveables  and  immoveables — 

Qives — being  of  sound  life — and  c«dea. 

As  his  own  free  act  and  gift, 

To  the  above  nam'd — et  cetera, 

His  beloved  wife  delectable, 

From  this  time,  an  equal  half. 

It  ia  written. 

And  be  wills  and  orders 

That  she  shall  farther  be  acknuwledged 

In  this  house  ;  and  when  not  in  it. 

The  mistress  wholly,  absolute 

And  by  all,  herself  shall  be. 

In  the  house,  paid  reverence  doe— 

Serv'd  by  all — by  all  obey'd 

With  zeal  and  with  fidelity. 
4-  Nor.   [  To  Don  Pasquale.] 

In  this  you  truly  show  your  heart — 

This  spontaneous  act  of*^  bounty. 

The  contract's  drawn  :  there  but  remais 

The  signatures — 
[Siqning  eagerly.]       Here's  mine  I 
[Draunng  Norina  to  the  table  with  gentU  i 

Dearest  sister,  now  come,  thine  ; 

For  thou  must  be  the  next  to  sign  I 

I  do  not  see  the  witnesses  : 

One  alone  will  not  suffice. 
While  Norina  is  in  the  act  of  signing,  the 


Ni. 
Pms. 


Mala. 


Nm. 


Pas. 

Mala 


Erruat-,  senza  badare  agli  altri,   «ji  dnom  «  Dmk 
quale. 

E-%.  [A  Pofquale,  con  vivacità.  ] 

Pria  di  partir,  Signore, 

Veng;o  per  dirvi  addio  ; 

E  come  a  un  malfattore, 

Mi  rien  conteso  entrar. 
Pm    [a  Emetto.] 

8'  «n  in  faccende — giunto 


Not. 

! 

Em. 
Nor. 
Mala 


vose»    </    H* 
Noruta    .4U    Jm 


nett   is  heard  from  the  outer  door 
pen  fall. 
[  Within.]  Back,  villains  !  back,  I  »ayl 
I  enter  will — give  way  ! 
(Ernest  !     I  really  don't  dissembU  : 
In  earnest  I  begin  to  tremble  I) 
(He  may  all  to  ruin  bring!) 

SCENE  m— Ebitbst,  and  the  rem. 

Bntest,   without  attending  to  the  others,  goes  ttratgm  u. 
Pasqiàole. 

Bm.   [To  Don  Pasquale,  warndy.] 
Ere  I  finally  take  wing, 
I  came  here,  sir,  adieu  to  say 
Wh'^n,  like  some  malefactor,  they 
Wotild  from  your  doors  drive  me  away 

Pat.   [To  Emett.] 

We  were  engag'd — your  coming,  thoagli. 


ié 


t)ON  PASQUALE. 


Però  Tol  siete  in  ponto  : 
A  fare  11  matrimonio, 
Mancava  un  testimonio. 

[  Volgavioti  a  Norma. 
Or  venga  la  sposina. 
Chi.  [  Vedendola,  nel  massimo  stupore.] 

(Che  vedo  1     Oh  Ciel,  Nonna  ! 
ìli  sembra  di  sognar  !) 

\  Etpiodatdo. 
Ma  qaesto  non  pnò  star 
Costei? 
(  //  Dottore  che  in  questo  frattempo  n   tar*   interposta  fta 
Don  Pasquale  e  Emesto,  interrompe  quést'  ùltimo. 
Maia.  La  sposa  è  quella 

I  Con  tnienriome  «arcata. 
Sofronia,  mia  sorella  ! 
Em.  [Can  sorpresa  crescente.] 

Sofronia  1  sua  sorella  1 
Comincio  ad  impazzar  ! 
Mala.   [Piano,  ad  Ernesto.] 

(Per  carità,  sta  zitto  ! 
Ci  vuoi  precipitar.) 

[Piano,  a  PcuqwU». 
Gli  cuoce— compatitelo  ; 
Lo  vò  capacitar. 

[Prtnds  Emett»  m  ditparU. 
Figliuol,  non  farmi  scene 
E  tutto  per  tuo  bene. 
Se  vuoi  Nonna  perdere, 
\       Non  hai  che  a  seguitar. 

[Enkstto  vorebbe  pariars. 
Seconda  la  commedia. 
Sta  cheto,  a  lascia  far. 

[  Vot^endoM  alla  Comiliwa. 
Questo  contratto  adunque 
Si  vada  ad  ultimar. 
[Dottore  conduce  a  sottoscrivere  prima  fifomta,  pot  Er- 
nesto   quest"    xdtimo,    metà     per    amore,     mikà     par 
forza. 
Nei.   [Riunendo  le  mani  degli  sposi.] 

Siete  marito  e  moglie. 
Po».         Mi  sento  a  liquefar. 

ktoLi    (  ^^*  '^  bello  a  comminciar  !) 

I  Appena  segnato  il  contrattai  Norina  prende   tot    amteync 

naturale,  ardito  senza  impudenza  :  t  ptmte   ctt  ésmn- 

voltura. 
Ha*    [Facendo  l'  atto  di  volerla  abbracciare.  |    Cartn*  ' 
.V«r.  [Rispingendolo  con  dolcezza.] 

Adagio  on  poco  ; 

Calmate  quel  gran  foco- 
si chieda  pria  licenza. 
P'M*.   [Con  sommessione.] 

Me  r  accordate  Y 
Mar.  [Seccamente.]    No. 

[Qui  t^   Notaro  si  ritira  inoMerwri»      Dmi  PatfttaU  rv 

mane  mortifcatissimo. 
Km.  i/ùdendo.]  Ah  !  ah  ! 
Has.  [Con  collera.]  Che  o'  è  da  rìde», 

Signore  impertiaonle  ? 

Partite  immantinente, 

Via,  fuor  di  casa — 
i\or.   [Con  disprezzo.]  Oibò  ! 

Modi  villani  e  rustici 

Che  tollerar  non  so.  |  A  AVimko 

Restate!     [A  Don  Pa»,fmiU.]   L* 

Apprender  vi  saprò. 


Pas.   [Constemato  al  Dottore. 

Dottore  ! 
Mala.   \  Come  sopra.  I 
Fas.         E'  un  altra  t 


OoB  t*Mqa«Je  : 


Ib,  ne'erthAiflss,  most  apropos  : 
My  happy  marriage  to  complete, 
One  witnt'x'^  more,  it  seems,  is  meet. 

[  Turning  to  N» 
Advance,  my  bride.     (He  ha.s  not  seen  her.) 
Em.  [Seeing  her,  in  the  greatest  amazement.  \ 

(What  do  I  see  *     Great  Heavens,  Norina  ! 
It  seems  like  some  wild  dream  to  me  !) 

I  Breaking  mm 
But  I'm  deceived — it  cannot  be. 
Who's  this  1 
I  The  Doctor,  who  has  bu  this  time  placed  htmself  behmtm 
Don  Pasquale  ana  Ernest,  interrupt*  thf  latter 
Mala.  This  lady  is  the  bride. 

[  With  marlced  ngn^/icamt» 
Sophronia,  sister  dear,  my  pride  ! 
Em.   I  With  increasing  surprise.] 

Sophronia  !  she  his  sister — she  ! 
I  feel  that  soon  I  mad  shall  be  I 
Mala.   [Aside,  to  Ernest.] 

(For  mercy's  sake,  be  silent,  pray  ! 
You  11  ruin  all,  if  more  you  say.) 

[Aside,  to  Pasf^mU, 
He's  wretched — pity  on  him  take  : 
I  will  persuade  him  to  submit. 

[  Takes  Emml  amà^ 
My  son,  a  scene,  pray,  do  not  make  : 

All  this  is  for  your  benefit. 
If  you  wish  to  lose  Norina, 
ion  have  only  to  proceed 

[Emeat  trim  t»  *p»ak 
Assist  us  in  this  comic  scena — 
Peace  let  us  manage — 'twill  8ucce«d. 

[Tumirig  round  to  the  Servai». 
This  contract — all  his  folly  past — 
We're  going  to  conclude  at  last. 
[  TV   D-ctor  conducts,  first  Norina,  to  affix  her  ••«'•*' 
ture  ;  then,  jtartly  by  persuasion  and  partlp  b§  /fr», 
Ernest. 
Not.    [Joining  the  hands  of  the  married  couple.] 

You  are  husband,  now,  and  wife. 
Pa»  I  feel  I'm  melting  !     Mine,  for  life  I 

Maia     \  ''^®  ^**'*  part's  going  to  commence  ! 

[  7  V  contract  has  hardly  been  signed,  when  JVorma  r*- 

lumes  her  natural  manner  :    her  telf-postestion  mut 

ease,  without  boldness. 
Has.   [Attemvting  to  t^nlirace  her.]  My  dearest  I 
Nor.    [Repulsing  him  gently.] 

Softly,  have  some  sense  ; 

Calm  your  great  ardor,  sir,  you  mtut — 

Embrace  !     Yon  should  have  ask'd  leara  Ant 
Pa».   I  Submissively .  ] 

Ton'U  grant  it  me,  now  mine  yon  are  1 
Nor.  [Drily]  No. 

[Here  the  Notary  retires  unobserved. 

mains  much  mortified. 
Em.  [Laughing.  |    (la  !  ha  !  ha  !  ha  !  ha  I  ha  I  ha  I 
Pas.   [Angrily^   What  is  there  to  laugh  at,  pray, 

Impertinent  young  jacanapes  1 

Hence  directly,  go  away 

Out  of  my  house,  quick,  or  perhaps — 
Nor.   [Contemptuously.]  Fie  upon  you — no  reply — 

What  niicouth,  rude  manners — fie  ! 

I  tolerate  them  can't — not  I.  |  To  Erm 

Remain  I     |  To  Don  Pasquale.]  Good  manner*, 
Signor,  which  you 

So  want,  I  shall  know  how  to  teach  you. 
Pas.    I  In  consternation,  to  the  Doctor.  ] 

Doctor  1    Doctor  ! 
Maia.   [Also  in  consternation.]     Dun  Pasquale  ! 
Pas.         Why,  she's  another — 


Don  Paaqmak  r\ 


DON   PASQUALE. 


17 


ttata.  Son  di  sale  I 

Pai.         L  lie  Torrà  diri 

Uala.  Calmateri, 

Scatire  mi  forò. 
Uaia.  e  Sor.  (In  fede  mia,  dal  ridere, 

Frenarmi  pìh  non  so.) 
yor.   [A  Don  Pasquale.]  Un  uom  qoal  toi  Jorr^ito, 
Qual  voi  pesauto  e  grasso, 
Condur  non  può  ana  giovine 
Oecentemento  a  spasso — 
Bisogno  ho  d'  un  bmccicre — 

I  AccmuMmi*  Emette. 
Sarà  mio  cavaliere. 
Pat    [Cort  viixicità.\  Oh!  qnesto  poi,  soauitemi 
Oh  questo  esser  non  può^ — 
Freddamente.]  Perchè  ■? 
tiìsoluto.]  Perchè  non  voglio 

Con  tchemo.]  Non  lo  volete  1 


POM. 

Sor. 
Po». 
Sor. 


Come  lopra.]  No  ! 

Facendoti  pretto  la  Patquale,  com  dolctxtn  affettata. 
Viscere  mie,  vi  «applico  « 


Mala 
Em. 
Pai. 

Sor. 
Pai 


Voglio,  per  vostra  regol* — 
Voglio,  lo  dico  io  sola — 
Tatti  obbedir  qai  devono. 
Io  sola  ho  a  comandar  I 
Ecco  il  momento  critico  I 
Lo  stretto  da  passar  ! 
Ma  se— 

Non  voglio  repliche. 
\ Accennando  Emesto.]   Costai — 


Ccm  m/ixJi  crttet»U. 


Sor.   [ /«risata.]  Taci,  baffone  ! 

[Don  PatqruaU  /a  ptr  peariar*. 
Zitto  I  provato  a  prenderti, 
Finora  ho  colle  buone, — 

[Facendog liti  pretto  con  minacna  trprtanva. 
Saprò  se  ta  mi  stuzzichi, 
Le  mani  adoperar  ! 

[Don  PatquaU  dk  incUttr» 
(Sogno  ?     Veglio  ?     Cos'  è  stato  ' 
Calci — Schiaffi — brava  !  bene  ! 
Baon  per  me  che  m'  ha  mvriaato, 
Or  vedrem  che  cosa  viene  ! 
Che  t'  avesse.  Don  Pasquale, 
Sa  dae  piedi  ad  ammazzar  ! 
E  rimasto  la  impietrato — 
Vegli,  o  sogni  non  sa  bene. 
Sembra  an  uomo  fulminato, 
Non  ha  sangue  nelle  vene 


Pte. 


Sor. 
Km. 
léaia 


Sor. 


Fate  core  Don  Pasquale, 
Non  vi  state  a  sgomentar. 
Or  r  amico,  manco  male. 
Incominci  a  indovinar. 


[A   U^  PamjuaU. 


[Norina  va  al  tavolo,  prende  U  campa^illt,  *  mtma 

violema. — Entra  un  Servo. 
Sor.  [An  Servo.]  Riunita  immantinente, 

La  servitìi  qa\  voglio.  |  Sm-o*  < 

Pai         [Che  vuol  dalla  mia  gente  1) 

..    '  '  I  (Or  nasce  an  altro  imbroglio  I) 


Mak.  What  a  change  ! 

Pat.     What  does  she  mean  1 

Mala.  Hash,  not  a  woid  ! 

ViTj  soon  I  will  be  heard. 
Maki  ^  .V^.  In  trntL,  ^m  laaghing,  without  paia, 

IjoagbT  I  cannot  refrain. 
Sor.    (  /  o  Don  Pasiptaif  \   A  man  decrepit,  Don,  aa  jo*. 

As  heavy  and  ut>  fat,  sir,  too, 

Cannot  take  out  a  yoang  ladj 

Decently  to  walk,  that's  clear  ; — 

A  joang  man's  arm  I  most  have  ready — 

[Pointing  to  Emam 

He  shall  be  my  cavalier  I 
Pai    [  With  vivacity,  i  Oh  I  as  to  that,  excoM  me  thare 

That  can  never  be,  my  life — 
Sor    [  Coldlu.  ]   Why  not,  husband  1     Do  you  dare  * 
Pai.   [Resoiutely.]  Because  I  will  not  hav«  it,  wife  I 
Sor.    [Scom/uUy.]    You  will  not  have  it,  husband  * 
Pa».    [As  be/ore.]  No  ! 

Sor.    [  Going  close  to  Don  Pasquale,  with  affeeud  fondntat.  | 

Love,  I  implore  you,  don't  say  so  ? 

[  With  incrtanng  vikimmtn, 

I  wiU,  then,  for  your  regulation — 

I  will,  for  I  can  speak  alone— 

That  all  obey,  whate'er  their  station — 

All  here  my  sole  command  must  own  t 
Mala.  Now  comes  the  critical  moment — fates  I 
Em.     Now  comes  the  passage  of  the  straits  I 
Pat.     But  if— 

Sor.  I'll  have  no  answering. 

Pat.    [Pointing  to  Ernest.]  He-^ 

Sor.   [t.nragM.]  Silence,  buffoon  !  peac«,  instantly  ! 

[Don  PaitjuaU  trxtt  (c  tftmk 

Be  quiet  !     I  have  tried  with  you. 

Gentle  means,  sir,  hitherto, — 

[  Going  up  to  him  with  a  menacing  gtahtrt 

I  shall  now,  should  yon  provoke. 

Use  my  hands — it  is  no  joke  ! 

[  Don  Pasquale  recoilt,  thundtrttmeJt 
Pat      Dream  1 1     Sleep  1 1     What's  amiss  1 

Kicks — cuffs  :  good — a  fine  pretext — 

'Tis  well  she  warn'd  me  has  of  this — 

We  shall  see  what's  coming  next! 

I,  Don  Pasquale,  she'd  think  meet 

To  trample  underneath  her  feet  ! 
Sor.     He  stands  quite  petrified,  and  seems — 
Em.     To  know  not  if  he  wakes  or  dreams  ! 
Mala.  He's  like  a  man  by  lightning  struck  : 
No  drop  of  blood  runs  in  his  veins. 

[To  Don  Pamfwak 

Take  heart.  Pasquale,  my  old  buck. 
Don't  be  discouraged — use  your  brains. 
Sor.     Now,  then,  at  least,  my  worthy  friend. 

You  must  begin  to  comprehend. 
{ Sorina  goei  to  the  table,  takes  the  hell,  and  ring»  with  r«» 
lence. — Enter  a  Servant. 
\  Sor.   [To  SfTifint.]   Assembled  instantly,  d'ye  hear, 
I  I  will  have  all  the  liuusehold  here  I       [Exit  Stnumi 

j  Pat.     I  What  with  my  [>eople  want  can  she  1) 

p         \  (Now  another  hreoze  there'll  bo!) 


Entrano  due  Servi  e  un  Maggiordomi 

Sot    [Ridendo.]  Tre  in  tutto  !  va  benissimo, 
C  è  poco  da  contar. 

A  VOI — [Al  Maggiordomo.] — da  qaaau)  •emt>rami, 
Voi  siete  il  maggioi  iomo  1 

[Maggiordcme  i 
Ora  attendete  agli  ordini 
Che  aù  dispongo  a  dar  : 
Di  serritii  r  oveUa 


Enter  two  Senyanti,  and  Major-Domo. 

Sor.  [Laughing.]  Three  in  all  I  most  excellent  ! 
Not  many,  it  is  true,  to  count. 
You,  sir — { To  the  Major-Domo.) — aa  far  as  I  can  laa 
The  Major-Domo  seem  to  be  ' 

[Major  Domo  botm 
Now,  then,  my  orders  youll  receive, 
Which  I  prepar'd  am  here  to  pva  : 
New  MTvanu  a  soflBlcient  set, 


IB 


DOV  PISQUALK. 


[Al  MofUfttrdomo. 


PenMte  a  prorTederml — 

Sia  gente  rresca  e  bell», 

Tale  da  farci  onor. 
Pa».  [A  Norina,  con  rtiiibia.] 

Poi  quando  avrà  finito — 
Iftr.         Non  ho  finito  ancor. 

[M  Maggmrómmc. 

Dei  legni  un  pajo  sia 

Stasera  in  scuderìa  : 

Quanto  ai  cavalli  poi, 

Lascio  la  scelta  a  voi. 

La  casa  h  mal  disposta, — 

La  vo  rifar  di  posta  : 

Sono  anticaglie  i  mobili — 

Si  denno  rinnovar. 
Più.  [Con  rctbbia  concentrata.] 

Avete  ancor  finito  ' 
Ntr.    [Seccamente.]  No  ! 

Mi  scordavo  il  meglio- 
Fate  le  cose  in  regola, — 

Non  ci  faccioni  burlar. 
[I/un  cenno    congeda    il    Maggtortiom»    dU    pmrf    e»i 

Servi. 
Ah.  Grazie  ! 

Chi  paga  1 
Sor.         Oh  bella,  voi  ! 
Paa.         A  dirla  qui  fra  noi, 

Non  pago  mica  ! 
Nm-.  No  •? 

PoM.  [Rucaldato.]   Sono,  o  non  son  padroiM  ' 
Nvr.  \Con  forza.] 

Padrone  !  ov'io  comando  ! 
Mala.  [Interponendosi  a  Norina.\    SoreU* — 
Nor,         Or  or  vi  mando. 

\A  Don  Pa$quaie,  evm  yW-M  amumiu. 

Siete  un  villano,  un  tanghero  ! 
Paa.  [Con  dittpetto.]  E  vero — v'ho  sposato  I 
Sor    [Come  iopra.]  Un  pazzo  temerario. 
Mala.  [A  Don  Pasquale,  che  ibuffa.] 

Per  carità,  cognato. 
Sor.        Che  presto  alla  ragione 

Rimettere  saprò. 
Pai.   [E  fuori  di  se,  vorrebbe  e  non   p%ià  pmriar*,   U  bH*  T 

affoga.] 

Son  tradito,  calpestato, 

Son  di  riso  a  tutti  oggetto  ; 

Quest'  inferno  anticipato, 

Non  lo  voglio  sopportar  * 

Dalla  rabbia  e  dal  dispetto 

Sto  vicino  a  soffocar  ! 
Blmr.   [A  Ernesto.]  Or  t'  avvedi,  coro  ingnio, 

Che  fu  ingiusto  il  tuo  sospetto  : 

Solo  amor  m'  ha  consigliato 
Questa  parte  a  recitar. 

[Acxxnnaiui»  Dmk  Pam^maU. 

Don  Pasquale,  poveretto, 

E  vicino  ad  affogar  ! 

Ani.  [A  Nonna.]   Sono,  o  cara  sincerato  : 

Momentaneo  fu  il  sospetto. 

Solo  amor  t'  ha  consigliato 
Questa  parte  a  recitar. 

[AccennoMde  Dom  Pat^ytaU. 

Don  Pasquale,  poveretto, 
E  vicino  ad  affogar  ! 
Mala.  [A  Don  Pasquale.]  Siet  e  un  poco  riacaldato — 

Don  Pasquale,  andate  a  letto. 

[A  Norimx,  am  rumprwmr». 

Far  soprusi  a  mio  «".ognato. 

Non  lo  voglio  sopportar  : 
[A^   Amanti,   coprendoli  perch*   Don  PamptaU  mm  it 

voda. 


Bethink  yon,  yon  for  me  must  get- 
Servants  young — good-looking,  too, 
That  may  do  us  honor  due. 
Pms.   [In  a  raije.] 

When  you've  finish'd,  you'll  permit — 
Sor.     I've  by  no  means  finish'd  yet. 

[To  the  Majo,- 
Of  carriages,  mind,  two  at  least 

This  eve  must  in  the  coach-house  be  : 
As  for  the  horses  and  the  rest, 

I  shall  leave  the  choice  to  thee. 
The  house  most  vilely  is  arrang'd, — 
I'll  alter  it  now  I'm  located  : 
The  fiirniture  is  antiquated — 
All  must  instantly  be  chang'd. 
Pat.   [  With  concentrated  rage.] 

Have  yon  done,  or  have  vou  not  1 
Nor.   [Snappishly.]  No!  '  [TotheMajoi- 

The  chief  thing  I'd  forgot — 
Do  all  things  in  the  greatest  style, — 
We  must  not  have  the  vulgar  smile. 
[She  dismisses  the  Major-Domo  by  a  gettun — he  foim  5^ 
unth  the  Servants. 
Pa».  Thanks  ! 

But  who's  to  pay — say  who  1 
Sor.     Excellent  indeed  ! — Why,  yon  ! 
Pai.     If  I  the  truth  must  let  you  know, 

I  will  not  pay  a  farthing  ! 
Sor.  No  1 

Pa*.  [  With  heat.]  Am  I  or  not  the  master  h««  1 
Sor.   [EnergeticaUy.] 

Master  where  I  command  !   you  jeer  ! 
Mala.   [To  Nonna.]   Sister — 
Sor.     We'll  by  and  by  confer. 

[  To  Don  Pasquale,  with  gromim^  yW^ 
You  are  a  clown,  a  clodpole,  sir  ! 
Pa*.  [Bitterly.]  That's  very  true — I've  married  yo«  ! 
Nor.  [A*  before.]  Madman  rash,  and  stupid  too. 
Mala.  [To  Don  Pasquale,  who  is  Joaming  with  rage.  J 

Brother-in-law,  a  word  in  season. 
Nor.     Whom  very  shortly  to  his  reason 

I  know  a  way  again  to  bring. 
Pa*.  [In  a  transport  of  passion,  tries  to  speak,  but  ocmmm,  A» 
rage  suffocating  him.] 
I  am  betray'd,  trod  down  and  beat, 
A  laughing-stock  to  all  I  meet  ; 
This  Tartarus,  before  its  time, 
I'll  not  support — what  is  my  crime  1 
Oh  !  with  mingled  rage  and  spite 
I  am  suffocating  quite  ! 
Nor.  [To  Ernest.]  Now  you  see,  ungratefdl  iwwt. 
How  unjust  was  your  suspicion  : 
Love,  to  bring  him  to  submission, 
Counsell'd  me  to  play  this  part. 

[PoinU  to  DoH  PaaqmaU 
Don  Pasquale,  poor  dear  wight, 
Is  nearly  suffocated  quite  ! 
Em.  I  To  Nonrui.]  I  am  justified,  dear  heart  ; 
Momentary  my  suspicion. 
Love,  to  bring  him  to  submission, 
Cotmsell'd  thee  to  play  this  part. 

[PoinU  to  Dot  Paifumti 
Don  Pasquale,  poor  dear  wight. 
Is  nearly  suffocated  quite  ! 
Mala.   ITo  Pasquale.]  You're  a  little  heated,  reaJ  y  — 
Do  go  to  bed,  dear  Don  Pasquale. 

[  To  Norina,  in  a  tot*  ^  rn^rmi/ 
On  my  brother-in-law  to  play 
Thus,  I'll  not  endure,  I  say  I 
[To  the  haven,  who  are  standing  to  that  D*m  Pa 
Hoy  not  tee  them. 


DON    PASQUALE. 


10 


ttacMsacci,  ma  ooapetto, 
Non  ri  stAte  a  pateaar  ! 


palesar  ! 
riira  DBU.'  ATTO  n. 


ATTO    III. 

•CENA  I — Sala  in  Casa  di  Don  Patauaie,  ame  aiT  Atto 
l. — Sparti  stti  Tavoli,  niUe  Sedie,  ver  Terra,  articoli  di  aba 
aliamento  Femminile,  Abiti,  (Japellt,  Pelliccie,  Sciarpe,  Mer- 
letti. Cartoni,  ^'c. — Ikm  Pa'^jwile  seduto  ntila  massima  cos- 
ternazione davanti  una  Tavola  piena  zeppa  di  Liste  e  Fat- 
ture.—  T  a-i'i  Senn  in  attenzione. — IJoil'  Appartamento  di 
Nonna  esce  ut,  Parrucchiere  ocm  Pettini,  Pomate,  Cipria, 
Ferri  da  Arricciare,  Sf^.,  attraversa  la  Scena,  e  via  per  la 
porto  di  mezzo. 

Cameriera.   [Facendosi  sulla  porta  dell'  Appartamento  di  No- 
rina  ai  Servi.] 

I  diamanti  presto,  presto  ! 

Un  Servo.  [Annunciatuio.]    La  Scnffiara  ! 

I  a  Cameriera.  Venga  aranti. 

[Z/i  Scuffiara  fintando  un  monte  di  carloni  vieti*  intro- 
dotta iiell'  ApjKirtamento  di  Norina. 
S  a  Cameriera.   [Con  pelliccia  grande,  meuxo  di  sfiori,  boccette 
d'  odore,  che  consegna  a  un  Servo.  ] 
In  carozza  tatto  questo. 
4  %  Cameriera. 

II  ventaglin,  il  velo,  i  gaanti. 
mh  Cameriera. 

I  raralli  sol  momento. 
Ordinate  d'  attaccar  ^ 
Po».     Che  marea — che  stordimento 
E  una  casa  da  impazzar. 
[A  misura  che  le  Cameriere  dònne  gì'  ordita   di   sopra,  i 
Servi  eseguiscono   in  /retta  :    ne   natce   trambueto  « 
conjiisione. 
Pmm.   [Esaminando  le  note.] 

Vediamo — alla  modista  : 

Cento  scudi — obbligato  !     Al  carrouBr* 

Sei  cento  !     Poca  roba  ! 

Nove  cento  e  cinquanta  al  gio  j  eiliere 

Per  cavalli — 

[  Getta  le  note  ocm  itizsa  t  m  atam. 
Al  Demonio  I 
I  caralli,  i  mercanti,  e  il  matrimonio  ! 

[Pmea. 
Che  cosa  yo  rà  dir  questa  gnm  gala  1 
Escir  sola  a  quest'  ora — 
Un  primo  di  di  nozze  ! 

Debbo  oppormi  a  ogni  modo  ed  impedirlo  ; — 
Ma — si  fa  presto  a  dirlo  1 
Colei  ha  certi  occhiacchi  ; 
Certo  far  da  regina. 
Ad  ogni  modo 
Vo  provarmi  :  se  poi, 
Fallisce  il  tentativo  I     Eccola  I 
A  noii 

SCENA  IL— NoKiHA  «  Dos  Pab^vau 

/ferina  entra  correndo,  e  senza  badare  a  Don  PamptaU  fa  for 
E'  vestita  in  grandissima  gala,  ventaglio  m 


SUIj  chits  !  for  Heaven's  sake,  pray, 
Don't,  I  beg,  jonrselves  betray  I 


■XD   OF       ACT    II. 


^M.         Dove  coire  in  tanta  fretta, 
Sigi  orina,  vorrìa  dirmi  ? 


ACT    III. 

SCENE  L — A  Room  in  the  House  of  iJon  PiiS(/uale,  ns  in 
Act  I. — On  the  Tables,  Chairs,  and  Ground,  are  spread 
different  articles  j^  Female  Dre.ss — Gowns,  Hats,  Pelisses 
lined  with  Fur,  oa.'ihes.  Bandboxes,  ^. — Don  Pasquale  u 
seated  in  the  utmost  consternation  before  a  TahU  covered  with 
BilU  and  Invoices. — Several  .Servants  are  in  attendance. — 
A  Hair-dresser,  with  Combs,  Pomatum,  Curling- Irons,  ^-c., 
conies  out  of  Norina' s  Apartment,  crosses  the  Stage,  and 
goes  off  through  the  door  in  the  centre. 

Lady's  Maid.    [Speaking   to  the   Servants  from  the  doo>  oj 
Nonna's  apartment.] 
The  diamonds,  the  bnlliants — here,  quick,  quick  1 
Serv.    [Announcing.]  The  Milliner  ! 
id  Ijody's  Maid.  Directly  show  her  in. 

(  The  Milliner,  carrying  a  number  of  Bandboxes,  is  shewn 
into  Norina's  Apartment. 
Sd  Ijady's  Maid.   [  With  a  large  furred  pelisse,  a  boquet,  ^tté 
smelling-bottle,  which  she  gives  to  a  Footman. 
You  in  the  carriage  will  put  all  these  things. 
UÀ  Lady's  Maid. 

The  fan,  the  veil,  and,  1'ye  hear,  the  gloves. 
Uh  Lady's  Maid. 

Order  the  horses — do  not  lose  a  moment. 
Let  them  directly  be  put  to,  d'ye  hear  ? 
Pat      What  an  overwhelming  tide — what  a  wild  habbab  I 
This  is  a  house  enough  to  drive  one  mad. 
[  In  proportion  as  the  Maids  give  orders  as  above,  the  Foot- 
men ejcecute  them   in  haste  :  this  causes  great  tuamà 
and  confusion. 
Pas.   [Examining  the  bills.] 

Now,  let  ns   see — what  have  we  herel     first,  tlM 

milliner  : 
A  hundred  crowns — obliged  !     The  coachmaker 
Six  hundred  I     Very  good — 'tis  quite  a  trifle  1 
Nine  hundred,  then,  and  fifty,  to  the  jeweller. 
For  horses — 

[He  throws  the  bills  away  with  annoyance,  and  nam 
To  the  Devil  I'll  pitch  all  ! 
Horses,  and  tradesmen — ay,  and  matrimony  ! 

[Mueittf 
What  can  you  think  of  these  great  preparadoiu  ^ 
To  go  out  by  herself  at  such  an  hour — 
The  very  first  day  of  her  nuptials,  too  ! 
I  should  oppose  it  every  way,  prevent  it  ; — 
But — that  8  a  very  easy  thing  to  say  ! 
She's  certain  threat'ning  glances,  scomfid  flashes, 
A  mighty  way  of  pluying  the  imperial. 
Let  me  arouse  myself  !     By  every  means 
I'll  try  conclusions  with  her  :  i^  then, 
The  attempt  should  fail  !     Ah  1  hers  she  oomM  1 
Now  for  it! 

SCENE  n.— NouNA  and  Don  Pasqcaub. 

Nonna  enters  hastily,  in  full  dress,  with  a  fan  u»  W»  ttm^ 
Sh*  is  going  o%U  without  noticing  Don  Pamptaie. 

Pus.     Prithee,  where  are  you  running  in  such  hasts, 
Toong  lady,  may  I  beg  you  mil  inform  ms  * 


yd 


bOH  PASQUAtSL 


Sor. 
Pa». 
Nm: 
f"u 

Nm. 

Pas 

Sor. 
Pa». 
Sor. 
Pa». 

Sm-. 

Pm». 

Sor. 

rw. 

.Vor. 
Pa». 


E  tm*  eoaa  pretto  detta  : 
Vb  a  teatro,  a  diyertinni. 
Ma  il  marito — con  laa  pi 
Non  voler  potria  talvolta. 
Il  marito  vede  e  tace. 
Quando  parla,  non  s'ascolta 

(  Car  bile  crescente.  ] 

A  non  mettermi  al  cimento — 
Per  suo  bene,  la  consiglio — 
Vada  in  camera  al  momento- 
Elia  in  casa  resterai. 

[Con  aria  di  motteggio.] 

A  star  cheto  e  non  far  scene 
Per  mia  parte  la  scongiuro, 
Vada  a  letto,  dorma  bene — 
Poi  doman  si  parlerà. 

[Interponendosi  fra  lei  e  la  porta.] 
Non  si  sorte  ! 

[Ironica.]  Veramente  ! 

Sono  stanco. 


Civettella  ! 
[Con  gran  calore 


Sona  stufa 
Impertinente  I 


Prendi  su  che  ben  ti  sta  ! 

Ah! 
(E  finiu.  Don  Pasquale  ! 
Pih  non  romperti  la  testa  ; 
Il  partito  che  ti  resta, 
E  d'  andarti  ad  annegar.) 
(E  dnrretta  la  lezione  ; 
Ma  ci  vuole  a  far  l'effetto  ; 
E  bisogTia  del  progetto — 
La  riuscita  assicurar.  ) 

Parto  dunque — 

Parta  piue  ! 
Ma  non  faccia  piti  ritorno. 
Ci  vedremo  al  nuovo  giorno. 
Porta  chiusa  troverà. 


Va  per  uoeire. 


[OUdk  um ochiaffo. 


[A  Don  Paaquak. 


ìfor.    Oh  !  that's  a  thine  that  very  «oon  i«  totd  : 
I'm  going  to  the  theatre,  to  divert  me. 

Pa».     Bat  the  husband,  with  your  leave — excuse  nee 
Saying  so — may  perchance  object  to  it. 

Nor.     The  husband  sees,  and  wisely  holds  his  tongue  ; 
For  when  he  speaks,  there's  no  one  listens  to  him 

Pat.   [  With  rising  warmth.] 

Not  10  put  me  to  the  trial,  Madam — 
It  is  for  your  own  good  that  I  advise  you — 
You'll  to  your  chamber  go — this  very  momeni  — 
Remain  content  at  home — stay  in  the  hourfo 

Nor.  {  With  an  air  of  banter.] 

To  keep  the  peace,  and  not  create  a  scene, 

I,  for  my  part,  conjure  you  earnestly 

To  go  to  bed,  and  there  seek  tranquillity — 

We  will  talk  over  this  affair  to-morrow.  (  Liv*m^ 

Pat.   [  Getting  between  her  and  the  door.] 
You  do  not  go  out.  Madam  ! 

Nor.  [Ironically.]  Don't  I,  really  1 

Pat.     I  am  quite  tired  of  this. 

Nor.  I've  had  enough  of  it. 

Pa».     Shameless  coquette  I 

Nor.  [  With  great  heat.]         Why,  yon  impertinent  ! 
But  there — take  what  you  well  deserve,  sir  ! 

[Boxe»  kit  oar 

Pa».  Ah  ! 

ilt  is  all  over  with  yon,  Don  Pasquale  1 
)on't  further  trouble  your  poor  head  abont  it  ; 
For  all  that  now  remains  for  you  to  do 
Is  quietly  to  go  and  drown  yourself.) 
Nor.     (I  must  confess,  'tis  rather  a  hard  lesson  ; 
Yet  'twas  required  to  have  its  due  effect. 
But  we  must  now  take  care  of  our  project — 
The  consummation  and  success  secure.) 

[To  Don  Ptmptai. 
I'm  going,  now,  then — 
Pa».  Oh  yes,  certainly  ! 

But  do  not  take  the  trouble  to  return. 
Nor.     Oh  !  we  shall  see  each  other  in  the  morning. 
Pat.     A  face  of  wood — a  closed  door,  you  will  find. 


VIA,  CARO  SPOSINO— Ml  DEAR  LITTLE  HUBBY.     Norina. 


m^^m^m^^'i^^^^^^^^t-^^i^^ 


Vie  -  ca  -  ro         spo  -  si    -     no        non    far  ■  mi    11  tl  -  ran 
M]f  dear  lit    -     tie    hub    -    by.      Now  don't  he      to      tnub 


no    Si  i     dol  -  ce         buo  -  ni    -     no         ri  • 
by  ;  Be     gen  -  tie,         in  •  dui    -    gent,     m»d 


i^^^è=?^^^g=i=:^p^iE^^j^ 


•et    -       -  ti     all'     e  -  ta 
think..»*      of....     your  ago  I 


va  a      let    -    to     bel     non . . . 
To     bed,      dear  grand-dad    ■ 


no 
dy. 


sia     che 
keep    qui 


to     11     too 

et 


^i*^Ée 


no 
dy 


:^i^a 


per    tern    -       -    po   a 
in     good time 


la     tpo  -  sa      Ter  - 

your   wife    trill      o  u 


^mÈ^m^^^^ì^^^^^^ 


ra     Ta 
gag»;   Oo, 


va. 
9»,- 


Ta  -        -  Ta  a    let       to      bil       non 
go......      to    bed,     dear  grand-dad 


r-t  t 


no        sia    che  -  to  il  tuo    son 
dy,      keep    quiet        and    ttea 


BO      per 
dy,      i% 


tern  -  po  a    ■>•  -  gliar 
good    ti»»»     tu     eaU.< 


la         ipo  -  sa 

yoMT      wtf»    «nS 


*>ON   PASQUALE 


ai 


ft«i.         Diroroo  !    diroreio  ! 
Che  letto — che  sposa  ; 
Peggiore  i-onsorzio, 

Di  questo  non  r'  h»  I 
Ah,  povero  sciocco  ! 
Se  duri  in  cervello — 
Con  questo  martello — 

Miracol  siirk  !  [yorina  ma. 

[NeW  atto  di  partii^,     y orina  lascia  coderò  utui  nata  ; 
Don  Pasquale,  se  ne  aintde  e  la  raccoglie. 
Pm*.     Qualche  nota  di  cuffie  e  di  merletti. 
Che  la  Signora  semina  per  casa. 

[La  tpitga  e  l*qg*. 
"Adorata  Sofronia — "  [Nella  inasnma  ansietà. 

Ehi  !  ehi  !  che  affare  è  quanto  1  [Ltgg*. 

"Fra  le  nove  e  le  dieci  della  sera 
Sarò  dietro  al  giardino  : 
Dalla  parte  che  guarda  a  settentrione  ; — 
Per  maggior  precauzione 
Pel  piccolo  cancello.     A  noi  ricetto 
Daran  securo  1'  ombre  del  boschetto. 
Mi  scordavo  di  dirti 

Che  annunzieni  cantando  il  giunger  mio  : 
Miraccomando — il  tuo  fedele  ; — addio." 
Pm.  [Fuori  di  sé.] 

Questo  è  troppo  ;  costei 

Mi  vuol  morto  arrabbiato  ! 

Ah  I  non  ne  posso  più — perdo  la  testa  ! 

[Scampaneliando.     Ai  $€rvi  ctu  sntrvmo. 
Si  chiami  Malatesta, 
Correte  al  Dottore  : 
Ditegli  che  sto  mal,  che  venga  tosto, 
O  crepare  e  finirla 
Ad  ogni  costo —  [Don  Paaquaì»  «ao*. 


SCENA  in.— Entra  Coro  di  Servi  e  C. 

/Wb    Che  interminabile — and  i-rivieni  ! 

Non  posso  regere — rotte  ho  le  reni  ! 
Tin-tin  di  qua,  ton-ton  di  là, 
In  pace  un  attimo,  mai  non  si  sta 
Ma  catia  buona,  montata  in  grande, 
Si  spende,  e  spande, — v'  è  da  scialar. 

Z>*.     Finito  il  pranzo  vi  furon  scene  I 
Uom.    Comincian  presto— contate  un  pò — 
Lkm.     Dice  il  marito,  "Restar  conviene  ;— " 

Dice  la  sposa,  "  Sortire  io  vò  I" 

11  vecchio  sbuffa,  segue  baruffa — 
Uomi.    Ma  la  sposina  1'  ha  da  spuntar — 

V  è  un  nepotino  guasta-mestieri — 
Don.     Che  tiene  il  vecchio  sopra  pensieri — 
Vom.    La  padroncina  è  tutta  foco — 
Don.     Par  che  il  marito  lo  conti  poco  ; 
Tittti.  Zitto,  prudenza,  alcun  qui  viene  \ 

Si  starti  bene — v'  è  da  scialar. 

[Emxmo. 

SCENA  IV. — MAUA.TE8TA  «d  Ermbsto,  nd  Umitart  della 

porta, 
ìtala.    Siamo  intesi  1 
Em.  Sta  bene, — ora  in  giardmu 

Scendo  a  far  la  mia  parte. 
tiala.  Mentr'  io  fo  qui  la  mia  ; 

Sopratntto  che  il  vecchio 

Non  ti  conosca  ! 
Em.  Non  temer  ! 

Mala.  Appena 

Venir  ci  senti, — 
Bm,  Su  U  mantello  e  ri*  I 

timla    Ottimamente  > 


Po».         DiTon-e  me  !     Divorce  me 

Whni  a  match — what  a  wife  «he  ; 
I'm  Hure  a  worse  consort 
Than  this,  never  was  ! 
Ah,  poor  ninny-hammer  I 
If  vour  brain  stands  this  clamor — 
Worse  than  e'en  pavior's  hammer — 

'Tis  a  miracle,  pos  !  [ExU  Sonm 

[In  the  act  of  departing,  Norina  lets  a  paper  drtfi  ;  /  ■•• 
Pasquale  perceives  it,  and  picks  it  up. 
Pas.     One  of  the  bills,  no  doubt,  for  c^ps  and  'ac«t. 
The  lady  likes  to  sow  about  the  house. 

[Opens  anu    eaUt 
"Adored  Sophronia — "  \In  the  greatest  anxiety 

Halloa  !  halloa  !     Eh  !  what  affair  is  this  1     [RfOiU 
"  Between  the  hours  of  nine  and  ten  this  evening, 
I  shall  be  at  the  bottom  of  the  garden — 
That  side  of  it  that  looks  out  on  the  north, 
For  greater — more  complete  precaution's  sake. 
By  the  small  grated  gate.     There  we'll  embower'd 
Fmd  safety  in  the  shadow  of  the  wood. 
I  had  forgot  to  tell  thee,  dearest  love, 
'Tis  in  a  song  I  shall  announce  my  coming  : 
Thine  to  command — thine  faitlifuUy  ; — adieu." 
Pa»     (  Unable  to  govern  himself.  ] 

This  is  too  much  ;  'tis  very  plain  this  woman 
Wishes  to  make  me  die  stark  staring  mad  I 
Oh  !  I  can  Itear  no  more — I  lose  my  senses  ! 

[Ringing  hand-bell  loudly.     To  Servants,  who  musr 
You'll  hither  instantly  call  Malatesta  : 
Run  with  the  speed  of  lightning  to  the  Doctor , 
Tell  him  I'm  ill,  that  he  must  come  here  quickly 
Or  either  I  must  choke  or  stop  this — 
Cost  regardless —  [Erit  Don  Pamp^u, 

SCENE  m.— Enter  Footmen  and  Waiting-maids. 

Omnes.  What  endless  going  there  ami  coming  here  ; 
'Tis  insupportable — one's  ba'k  is  broken  ! 
Nothing  but  ding-ding  here,  nud  ding-ding  there  ; 
In  peace  they'll  not  a  momeni  let  us  stay  : 
But  still,  'tis  a  good  house — all's  first-rate  style  ; 
Spend  here,  spend  there, — eat,   drink,  and  making 
merry. 
Women.  The  dinner  over — Oh,  there  were  such  soenet  I 
Men         They  began  early — let  us  hear  a  bit — 
Women.  "Now,"  said  the   husband,    "you    must   stop    ai 
home  ; — "  ^ 

Said  the  wife  firmly,  "  Sir,  go  out  I  will!" 
Men.        The  little  wife  will  conquer  in  the  end — 

There  is  a  certain  marplot  of  a  nephew — 
Women.  Who  discomposes  much  the  old  man's  mind — 
Men.        Our  httle  mistress  is  all  fire  and  fury — 
Women.  It  seems  she  don't  account  her  husband  much  ; 
Omnes.  Hush,  hush,  be  prudent  I  there  is  some  one  coming 
All  will  be  well — there's  plenty  to  regale  as. 

[Exeum 

SCENE  IV.— Malatesta  and  Ernest  at  the  door. 

Mala.  'Tis  understood  1 

Em.  All's  right — soon  to  the  garden 

I  shall  repair  ; — repair,  to  play  my  part. 
.Stala.  While  on  my  part  I  stay  here  to  [day  mine; 

But,  above  all,  mind — don't  let  tin.  old  gcntleniar 

Discover  you 
A'rri  Don't  lie  afraid  ' 

J/(j^'<i  Diicilly 

You  hear  us  come,— 
Ern  On  with  the  eloak,  and  off! 

Mala.  Most  capital  I 


ad 


DON   PASQUALE 


ffm.  A  rivederci  !  [EnuM  eace. 

Maia.   fAvamandoBt.j  Qaesta 

Repentina  chiamata 

Mi  prova  che  il  biglietto, 

Del  convegno  notturno,  ha  fatto  effetto. 

[  Guarda  fta  U  Sctna. 

Eccolo  !  coni'  è  pallido,  dimesso  ! 

Non  sembra  più  lo  stesso. 

Me  ne  fa  male  il  coro  ; — 

Ricomponiamci  un  viso  da  dottore. 

8CENA  V.—lJon  Pasquale,  abbattutÌMÌnu>  «'  moUra  lem- 
tamente. 


Ucda. 


Maia. 


Po» 


[Andandogli  incontra.] 
Don  Pasquale — 
Con  tristezza  solenne.] 
Cognato,  in  me  vedete, 
Uii  morto  che  cammina  ! 

Non  mi  fate 
Languir.     Che  fu  ? — parlate  ! 


Maia. 


Mda. 
Po, 


Meda. 
Po*. 


[Sema  badargli  e  come  parlando  a  sé  stet$o.  \ 
Pensar  che  per  un  misero  puntiglio 
Mi  son  ridotto  a  questo  ! 
Mille  Nonne  avessi  dato  a  Ernesto  ! 
(Cosa  buona  a  sapersi.) 
Mi  spiegherete  alfin  ? 

Mezza  1'  entrata 
D'  an  anno  in  cuffie  e  in  nastri  consumata 
Ma  questo  è  nulla — 

E  poi* 

La  signotina 
Vuol  escire  a  teatro  : 
M'  oppongo  colle  buone. 
Non  intende  ragiono — e  son  derìso. 
Comando  :  e  della  man  mi  dà  sai  viso  ! 
Uno  schiaffo  ! 

Uno  schiaffo  !  si,  Signore  ! 
Ma  questo  è  nulla  :  v'  è  di  peggio  ancora. 
Leggete  ! 
[Porge  la  lettera  al  Dottore,  che  vegge  dando  àegni  di  aor- 
presa  crescente  Jino  all'  orrore. 
Mala.  Io  son  di  sasso  I 

Pas.   [Riscaldandosi.]  Corpo  d'  an  Satanasso  ! 
Voglio  vendetta  ! 

E  gasto. 

Ajsicarala, 
Sta  in  noi. 

Come'! 

Ascoltate  ! 
Ho  un  mio  ripiego  ;  ma  sediam.  {Sitdomo. 

Parlate  ! 
Cheti,  cheti,  immantinente, 
Neil  giardino  discendiamo  ; 
Prendo  meco  la  mia  gente, 
Il  boschetto  circondiamo  ; 
E  la  coppia  sciagurata, 
A  un  mio  cenno  imprigionata, 
Senza  perdere  un  momento  : 
Conduciam  dal  podestà. 
Che  vi  par  del  pensam 
Maia.  Parlo  schietto,  non  mi 
Riflettete,  la  colpevole 
M'  è  sorella,  è  moglie  vostra  : 
Ah  non  stiamo  l'  onta  nostra 
Su  pei  tetti  a  divulgar. 
Espediente  piìi  a  proposito, 
Procuriam  d'  immaginar. 
Io  direi,  sentite  un  poco. 
Noi  due  soli  andiam  sul  loco  : 
Nel  boschetto  ci  appostiamo  ; 


Maia. 
Po». 

Mala. 
Pas. 

Mala. 
Po*. 


.4  S. 


Mala. 


Erti.  Until  wo  meet,  adieu!  [Krit  Kmam 

Mala.  ]Coming  forward.]  This 

Sudden,  though  not  unoxpectcd  summon.s, 

Proves  very  clearly  to  me,  that  the  billet 

Of  this  night's  assignation  has  i)een  swallowed. 

[Looks  «f 
He's  here  !  how  pale  and  woe-licgoue  he  looks  ! 
He  seems  not  the  same  man  he  us'd  to  be. 
I  vow  it  cuts  me  to  the  very  heart  ; — 
Let  me  resume  my  proper  doctor's  face. 

SCENE  V. — Don  Pasquale,  excessivdy  dispirited  and  cat» 
down,  enters,  and  advances  slowly. 

Meda.   [Going  to  meet  him.] 

My  best  of  fi-iends  and  [>atients,  Don  Pasquale — 
Pas.   [  With  solemn  grip/.] 

Brother-iu-law,  in  me,  ala.s  !  you  see 

A  dead  man,  walking  upright  ! 
Mala.  Do  not  keep  me 

In  dread  suspense.     What  can  have   happen'd  *- 
speak  ! 
Pas.    [  Without  attending  to  him,  and  s/ietiking  to  himself.] 

To  think  that  for  a  poor  punctilio 

I  am  reduc'd  to  such  a  state  as  this  ! 

A  thousand  Noiinas  I'd  have  given  Krntist  ! 
Mala.  (That's  a  good  thing  to  be  acquainted  with.) 

Will  you  explain,  at  last  ? 
Pas.  Half  the  whole  income 

Of  a  year  in  caps  and  ribbons  gulph'd  up  ! 

But  that  is  nothing — 
Mala.  What  more  ^ 

Pas.  The  young  lady 

Chooses,  forsooth,  to  go  to  the  theatre  : 

This  I  oppose,  but  with  the  greatest  mildness. 

She  won't  hear  reason — I'm  a  laughing-stock. 

I  then  command  ;  she  strikes  me  on  the  face  ! 
Mala.  A  blow! 
Pas.  A  blow,  sir  ! — what  do  you  think  of  that  * 

But  that  is  nothing  :  there  is  worse  behind. 

Read! 
[  Gives  the  letter  to   the  Doctor,  who  makes  signs  of  tm 
prise,  increasing  even  to  horror. 
Mala.  I  am  fairly  petrified,  turn'd  stone  I 

Pcu.     By  all  that  is  infernal  !    Satan's  body  I 

I  swear  I'll  have  a  terrible  revenge  ! 
Mala.  It  is  but  just  you  should. 
Pas.  To  secure  it. 

Rests  with  ourselves. 
Mala.  How  7 

Pas.  Listen,  listen,  Doctor  ! 

I  have  a  plan  ;   but  let  us  sit  down.  (  Thej/  «■ 

Meda.  Speak  ! 

Pas.     Softly,  friend,  softly  !     This  hour,  immediately, 

We  to  the  garden  will  forthwith  proceed  : 

I  will  take  with  me  all  my  people. 

The  little  woody  arbor  we'll  surround  ; 

And  the  vile  culpable  unlucky  couple 

Are,  at  a  signal  I  shall  give,  imprison'a 

Without  a  single  moment  being  lost  • 

Before  the  magistrate  we  then  will  take  them. 

Now,  of  this  scheme  of  mine  what  think  yon  'f 
Mala.  Why,  to  speak  frankly,  I  do  not  quite  agree. 

Reflect,  this  most  abandou'd,  guilty  one, 

Unhappily's  my  sister,  and  your  wife  : 

Let  us  not  give  the  means  by  which  our  sliame 

May  from  the  very  house-tops  be  proclaim 'd. 
Both.    A  more  expedient,  likely  pioi)osition. 

We  must  try  somehow,  if  we  can't  devise. 
Mala.  I  should  say,  let  us  consider  a  little. 

We  two  alone  will  go  straight  to  the  place 

There,  in  the  little  wood,  let's  post  oarselvee , 


DON    PASQUALE. 


98 


A  sa  :  «mpo  ci  moBtrìamo  ; 
E  tra  prejihi,  tra  rainacrie — 
D'  avvertir  1'  nutorità — 
Ci  facciaiii  (lai  due  promettere 
Che  la  tresca  ha  fine  là. 
Don  Pasquale  rhe  vi  par? 
P(U.   [Alzandosi]   Piriionate,  mon  paò  star; 
E'  siffatto  scioplimento, 
Poca  pene  al  tradimento  ; 
Vada  fiior  dì  casa  mia, 
Altri  patti  non  vo'  far. 
A.  t.       E'  un  affare  delicato, 

Vuol  ben  esser  ponderato. 
La  prudenza  col  rip^ore 
Qui  bisogna  consiliar. 
ifaia    [A  un  tratto.]  L'  ho  trovata! 
Po».  Oh  ben»deUo  ! 

Dite  presto. 
Maia  Nel  Itoschetto 

Quatti,  quatti,  ci  appostiamo, 
Di  lit  tutto  udir  possiamo, 
S'  è  costante  il  tradimento  : — 
Su  du  pie'  s'  ha  da  cacciar. 
Po».         Son  contento — va  henone  ! 
Maia        Ma  con  ]ìatto  e  condizione. 
Che  r  inlento  ad  ottenere — 
M'  accordiate  di  potere 
Fare  e  dire  a  nome  vostro 
Tutto  quello  che  mi  par  t 
Po*.         Carta  bianca  vi  concede, 
Fate  pur  quel  che  vi  par  : 
Aspetta,  aspetta, 
Cara  sposina, 

La  mia  vendetta  : 

Già'  s'  avvicina, 

Già'  già'  ti  preme  : 

Già'  t  ha  raggiunto, 

Tutte  in  un  punto  ! 

L'  hai  da  «contar — 

Vedrai  se  giovino. 

Raggiri  e  cabale — 

Sorrisi  teneri — 

Sospiri  e  lagrime — 

La  mia  rivincita. 

Mi  voglio  prendere  ! 

Sei  nella  trappola  ! 

V  hai  da  restar  ! 
Mam     A  parte.]  E  poverino  ! 

Sogna  vendetta  ; 

Non  sa  il  meschino — 

Quel  che  1'  aspetta! 

Invano  freme  ; 

Invano  arrabbia — 

E'  chiuso  in  gabbia  ! 

Non  può  scappar  ! 

Invano  accumula, 

Progetti  e  calcoli  ; 

No  sa  che  fabbrica 

Castelli  in  aria  : 

Non  vede — il  semplice- 
Che  nella  trappola, 

Da  sé  medesimo 

Si  va  a  gettar.  [  Etrono 


8(JJKNA  VI. — Eritebto  <•  Coro  di  dentro.  Boschetto  nel 
pardiTto  attiguo  olla  casa  di  Don  Pasquale  da  un  lato  gra- 
dinma  che  un  dalla  casa  mette  in  giardino  doli'  altro  ean- 
ciiio  aet  ^rdino.     E  natte. 


Then,  at  the  proper  time,  come  forth  ; 
And  what  with  supplications  and  with  menaces — 
That  we'll  inform  th'  authorities  of  all — 
Penhance  we  may  induce  them  both  to  promise 
That  this  false  step  shall  end  for  ever  there. 
Now,  Don  Pasquale,  what  do  you  think  of  thai  ' 
Pom.   [A'i(i>t^.|   Pardon  me,  Doctor,  but  this  cannot  ^ 
Such  a  get-off  as  would  be  this  conclusion, 
Would  be  hut  little  punishment  for  such  treacher7 
She  shall  go  out  for  ever  from  my  house  I 
Save  this  condition,  none  else  will  I  make 
Both.    It  is  a  delicate  affair, 

And  requires  deliberation  : 
Prudence,  with  rigorous  degradation. 
Here  must  be  combin'd  with  care. 
Mala.   {Suddenly]   Eureka!  I  have  found  it  ! 
Pas.  Oh,  bless'd  heaven  ! 

Tell  me  directly. 
Mala.  In  the  little  wood 

Quietly,  (}uietlT,  we  will  post  ourselves. 
Whence  we  may  hear  what  passes,  and  judge 
If  real  I  •ana  fide  is  this  treachery  : — 
When  I  will  instantly  discard  her. 
Pas.     I  am  contented — 'tis  the  very  thing  ! 
Mala.  But  with  tliis  compact»,  and  with  these  condition* 
This  most  desirable  object  to  obtain — 
That  you  shall  fully  grant  me  the  power 
Of  doing,  and  of  saying,  in  your  name, 
All  things,  I  in  my  judgment  may  think  fit! 
Paa.     A  cane  blanc^jl  \villingly  will  give  you, 
Do  all  and  singular  that  you  think  best  ; 
Wait,  wait, 
Dear  little  wife, 
I  soon  reveng'd  will  be  : 
E'en  now  'tis  near,  my  life, 
The  Fates  press  hard  on  thee  : 
Now,  now,  it  reaches  thee, 
This  night,  without  delay, 
Thon  must  the  reckoning  pay  ! 
Thou'lt  see  what  little  use 
Now  will  be  each  excuse — 
Useless  thy  tender  smiles, 
Sighs,  and  tears — and  wiles — 
All  I  have  now  at  stake, 
Conquer'd,  again  I'll  take  ! 
Thou'rt  in  the  trap — hurrah  ! 
There  thou  wilt  have  to  stay  t 
Mala.  [Aside.]  Oh,  the  poor  fellow! 
Vengeance  he's  prating  ; 
Let  the  dolt  bellow — 
He  knows  not  what's  waiting  I 
Vain's  all  his  fretting  now  ; 
Rage  in  vain  ape — 
He's  a  cage  shut  in  now — 
Cannot  escape  ! 
Vain  he  accumulates, 
Projects,  and  calculates , 
He  knows  not  he  is  building  rare 
Castles  in  the  empty  air  : 
He  sees  not — the  simpleton — 
That  in  the  trap,  poor  elf, 
He  of  his  own  accord 
Now  goes  to  throw  himself.         [Exeunt  togetÀm 

SCENE  VI.— Eenest  ant/  Chorus  unthin  a  mad  wood  t> 
the  garden,  adjoining  Don  Pasquale's  house.  On  one  fvU  u 
/light  of  steps,  leading  from  die  house  :  on  the  other  the  gr'jueu 
gate  of  the  garden.     It  is  night. 


DON    PASQUALK. 


COM'  E  GENTID-ORì  SUMMER  NIGHT      Sow;      Ebhksto. 


^i^^feir&B^iiiiS^-i^^^i^ii^y^i 


Com'  è   gen  -    til, 
Oh  I  Summer     night, 


la  notte  a  mezzo  April, 
Thp     tran-quil      li<jht 


E  azzar- ro  il      eie! — ....      la       la    -   naè    sen  -    za 
Wa»  made  for      thote....       who      shun      the      bu    •    $p 


m^mm^^ms^m^^m^ 


rei: Tat-t'è     Ian  -  ^or. 

datf,-»'» •     Who  love    too       well, 


Pace,  mÌ8te-ro,  a  -  mor 
Yet    blush     to        teV 


Ben  mio,  per-chè        ancor — non  viene  a 
The  hopes  that  led their  hearts  a  - 


jsLn:.: 


mei 
strap  1 


For  -  ma  -  no        I'aa    -     re. 


^=-;:i^^— 4-F=^— •=! 


^ 


AU    now    is 


stiU, 


D'a  -  mor-e  »c  -  cen 
On     dale,  on       kiU. 


{x'^^^=^E^^p^ 


^] 


ti, 


Del    rio    nel     mormorar, 
And  none  are      nigh, 


^^!g=£l^g^^^ig^^^^}^5ii^^^ 


So8  -  pi  •   ri 
With  curious 


sen            -         -         -         -ti      Ben    mio    per  -  che, 
epe; •• Then    whi/,my      love. 


anvor  non  vie  ni  a  • 
oh,         why         de 


^g^^lif^^i^^jiil 


me? 
iayf. 


Per  -  che,  per  -  che, non 

Then    why,  my     love,  ....        oh. 


Poi       qaando      sa  -  rò 
Your      lat  -  tiee     o  -  pen 


l3=ri^^=?ti^^ 


mor- to,.-.,      pian-ge  -  ra  •    i, 
to      (A<....      star-ry    night, 


Ma  -  ri  -  Ghia  mar-ra'in  -  ri  -  ta 
And  unth  your  presence  make  the- 


non    po  -  trai. .  • 
iDO'ld  more    bright. 


Nm»  crndel,  mi  vaoi  veder  morir  1 
Poi  quondo  sarò  morto  piangerai, 
Ma  ritornarmi  in  vita  non  potrai. 
Coro.   [f>i  dentro.]  Poi  ((nando  sarà  morto,  piangerai, 
Ma  ritornarmi  in  vita  non  potrai. 
Inorino  esce  con  precauzione  dalla  casa  e  va  ad  ayrire  <ul 
Emesto,  che  si  mostra  dietro  il  cancello.     Ernest  è 
avvolto  in  un  mantello,  che  lancerò  cadere. 


Crnel  Norina,  woald  you  see  me  die  ? 
When  I  am  dead,  ycn'U  haply  for  me  weep, 
But  back  to  life  you  could  not  then  rtstore  me' 
Omties.  ^V^len  he  is  dead,  yau'll  haply  for  him  weep, 

But  back  to  life  you  could  not  then  restore  him  \ 
I  \oriiui  comes  cautiously  oiit  of  the  hoitse  and  oferu  Uti 
ijate  for  Ernest,  who  is  seen  behind  it       He  is  wrap- 
peti  in  a  mantle,  which  he  lets   lall. 


TORNAMI  A  DIR— TELL  ME  AGAIN.     Ddet.     Ebwbst  and  Nobina. 


«..z— : 


51 T"~  'I  I"  I       '^      •^ — *^ 


na  -  mi  a  dir    che    m'a   -   mi, 
me     a  ■  gain  thou  lov'st        me. 


i^^ 


mi    che    mi  -  o      tu        se- 
me   that  thou  art    mine,  dear  :  ■ 


5li?li: 


Tor     -     na  -  mi  a  dir     che    m'a  -  mi. 
Tea  me     a  -  gain    thou    b>v'it    me. 


Dim  •    mi    che    mi  -  o      tu         se    -        -    i  : 
TeO       me    thiit  thou  art    mine,    dear :.....,. ^ 


DON  PASQUALE. 


95 


k, 


:^=t3: 


r^^^;{j-^E^i^r  r^  U^s^^^-Ef^fl'^i^ 


Qaan 
When, 


do    tao    ben      mi      chia 


mi, 


love,  thou  call' St    me      thine own, 

.    0 


La     vl  -  ta    ad  -  dop  -  pi     io     me. 

It  makes  my  life    dou  •  ble    ap  -  pear. 


''^4^^^^^^m^ 


:5=>— 


i:sM?] 


Qnan    -    do    tao    ben      mi      chia    -        -    mi, 
When,      love,  thou  call' st    me      thine. •»»•      own. 


me. 


La     vi  -  ta    ad  ■  dop  -  pi      in 

It  makes  my  life    don  -  ble      Ap  -  pear. 


sii^-^ 


CO  -  re     op 
sounds  my     bo  torn 


La TO  •  ce      ta  -  a    si 

Thy     voice,  dear,  my    hopes     re 


TtL, 

ing, 


Bin 
It» 


^M^: 


3  iEirnH^ESSi^^i^^:^ 


pros 
cheer 


80      il      CO  -  re      op  •  pros 
ing.  my    bo  $om    chei 


so,     Se 
ing,    I 


cara    a 
Irem-ble 


ter    -    ing.  my    oo  mm    cneej^  ...  .....    ,„j,^    /  trem-ble 


fran    -    ca      il     co  -  re     op  -  pre» 
tweet    sounds  my    bo  som    cheer  ■ 


so,    Se 
ing,    I 


car»    a 

tren  -  ble 


^^3'^^^g^gifg-^ggg=g^^'^?^»--?i'=^^^ 


te        d'ap-pres 
when  thou'rt  a  -  way. 


80, 

dear. 


V- 

Tre    -      mo    ion  -  tas  da  -  te  . 

But  joy    re  •  turns  when  thou  art  near. 


te       d'ap-pres    -    so, 
when  thou'rt  a  -  way,     dear, 


V — U  — U- 
Tre    •     mo   Ion  -  tan  da  -  te  • . . 

But  joy    re  •  turns  when  thou  art  near. 


CO.  a  a      te    d'ap  -  pres    -    so, 
tremble  when  thou'rt  a  -  way,    dear, 


mo    Ion  -  tan     -     da      t<\. 
returns  when  thou  art    near. 


m^M^^^mm^m^^i^^m 


cura  a      te    d'ap  -  pres    -    so, 
tremble  when  thou'rt  a  •  way,    dear, 


Ah 
But 


tre     -      ino    Ion  -  tan      -      da      te. 
joy      returns  when  thou  art     near. 


[Si  vedono  Pasquale  e  ti  dottore,  muniti  di  lanterne,  sorde 
entrar  pian  fiiana  nel  cancello  :  si  per  dono  dietro  affli 
alberi  per  ricomparire  a  suo  tempo. 

Nor.   [Sommessamente.]   Sento  rumor  ! 

Em.  Son  dessi  I 

Nor.     Comincia  1'  iiltim'  atto^ 

Em.     Se  perder  ti  dovessi  ! 

Nor.     V»  cor.  t'  affida  in  me. 


[Pasqiude  and  the  Doctor,  furnished  with  dark  tantenm^ 
are  seen  to  enter  softly  at  the  rp-ated  door  :    the^'  dimxp 
pear  behind  the  trees,  but  reappear  at  the  right  momeiU. 
Nor.  [  Very  low.  ]  I  heard  a  soand  approaching  ! 
Em.  Ah  !  'tis  they  Ì 

Nor.     Let  as  begin,  dear  Ernest,  the  last  act — 
Em.     If  I  should  have  to  lose  thee,  after  all  I 
Nor.     Take  heart — love  is  oar  friend,  trost  all  to  OM- 


96 


DON  PASQUALE 


[ifentn  Don  PwiquaU  e  il  dottore  n  eomparùeono  Er- 
nesto riprende  manteJlo,  e  ti  trotta  alquanto  da  No- 
rxna  ittWi  direzione  della  Mta  di  Don  PatquaU. 

Pcu.     Eccoli  I     Attenti  ben  ! 

Mala.  M'  raccomando  ) 

SCENA  VII.— Don  I-asqualb,  Dotto»»,  «  detti. 

Pat.   [Sbarrando  la  lanterna  in  volto  a  Norina.] 

Alto  là! 
Nor  Ladri,  ajuto  ! 

Pa»    [A  Norina.]  Zitto  \    Ov  è  il  drudo  * 
Nor.  Chi  1 

Pat.  Colui  che  stava 

Con  voi  qui  amoreggiando — 
Nor.  [Con  ritentiTitento.]  Signor  mio  ! 

Mi  meraviglio  qui  non  v'  era  alcuno  ! 
Mala.  (Che  faccia  tosta  !) 
Pat.  (  Che  mentir  sfacciato  !  ) 

Saprò  ben  io  trovarlo. 
[Don  Pasquak  e  il  dottore  fanno  indagini  nei  hotcketto. 
Ernest  entra  pian  piano  in  rasa. 
Nor.     Yì  ripeto, 

Che  qui  non  v'  era  alcun,  che  voi  sognate. 
Mala.  A  quest  ora  in  giardin  che  facevate  1 
Nor.     Stavo  prendendo  il  fresco. 
Pas.     n  fresco  !     [  Con  esplosione.  \ 

Ah,  donna  indegna  ! 

Fuor  di  mia  casa  ! — o  eh'  io  ! — 
Nor.     Ehi  !  ehi  !  Signor  Marito — 

Su  che  tuoii  la  prendete  ? 

Pat.  Escite  e  presto  I 

Nor.     Nemmen  per  sogno  ;  e'  casa  mia — vi  reato 
Pat.     Corpo  di  mille  bombe  ! 
Mala.  Don  Pasquale, 

Lasciate  fare  a  me  ;  solo— badate — 

A  non  smentirmi  : — ho  carta  bianca  ! 
Pat.     E  inteso. 
Nar.     (l\  bello  adesso  viene.) 
Mala.   [A  Norina  piano.] 

(Stupor  misto  di'  sdegno, — attenta  bene — J 

Sorella  adite,  io  parlo 

Per  vostro  ben  :  vorrei 

Risparmiarvi  uno  sfregio — 
Nor.  A  me  uno  sfregio  1 

Mala.  (Benissimo  !)     Domani  in  questa  casa, 

Entra  la  nuova  sposa. 
Nor.   1  Come  sopra.]  Un  altra  donna  ! 

A  me  simile  ingiuria  1 
Mala.  (Ecco  il  momento  di  montare  in  furia.) 

[Don  Pasquale  tien  dietro  al  dialoga   con  grande  into- 
resse. 
Nor.     Sposa  di  chi  'f 

Mala.  D'Ernesto  ; — la  Norma. 

Nor.  [Con  disprezzo.] 

Quella  vedova  scaltra  ;— e  civettina  ' 
Pat.  [Al  Dottore.]  Bravo,  Dottore  ! 
Mala.  (  Siamo  a  cavallo  !  ) 

Nor.     Colei  qui  a  mio  dispetto  ! 

Norina  ed  io  sotto  1'  btesso  tetto  ! 

[Con  forza. 

Qiammai  !  pintosto  parto  I 
Pat.    Ah,  lo  volesse  il  Ciel  ! 
Nor.   [Cambiando  modo.] 

Ma — piano  un  poco. 

Se  queste  nozze  poi  fossero  on  goico  1 

Vo'  sincerami  pria. 
Mala.  E  giusto. — [A  Don  Pasquale.] — Don  Pasquale  non 
e'  e  via  ; 

Qui  bisogna  sposar  quei  due  davvero 

Se  no  costei  non  ra. 


[  When  Don  Pasquale  and  the  Doctt  t  re-oppear,  £mem 
cìoaìct  himself,  and,  leaving  Norina,  return*  t»wanù 
the  house  of  Don  Pasquale. 

Pat.     They're  here  !     Mark  well  ! 

Mala.  Heaven,  I  commend  me  to  thee  I 

SCENE  Vn.— Dor  Pasquale,  Malatbbta,  aiul  fi^ 

others. 
Pat.   [  Unmasking  the  lantern  full  in  Norina'*  face.] 

Halt  there  !     Hold,  Madam  ! 
Nor.     Ah,  thieves  !  thieves  ! — help  !  help  ! 
Pat.  I  To  Norina.]  Peace  !     Where's  the  lover  * 
A^or.  Who  1 

Pat.  Why,  he  who  was 

Here  but  this  very  moment — making  love — 
Nor.  [Offended.]  Who,  sir? 

I  am  amazed — there  was  nobody  here  ! 
Mala.  (  What  a  quick  change  !  ) 
Pat.  (What  an  audacious  falsehood  )) 

Oh  !  I  know  well  how  I  can  find  the  gentleman. 
[Don  Pasquale  and  ilaJatesta  make  o  search  among  thi 
trees.     Ernest  secretly  enters  the  house. 
Nor.     Doubt  it  !  well,  I  repeat  it  to  you  again, 

That  there  was  no  one  here,  and  that  you  dream. 
Mala.  At  this  hour  in  the  garden,  pray  what  did  yon  * 
iVior.     I  was  enjoying  the  fresh  air. 

Pat.     The  fresh  air!    [VFiYA  a  burst  of  indignation.]     Ah' 
thou  false  unworthy  woman  ! 

Out  of  my  house  directly  ! — troop  !— or  I — 
Nor.     Heydey  !  heydey  ! — strong  words  these,  Mister  Hm 
band  ! 

Do  you  take  up  this  tone  t 
Pat.  Begone,  and  quickly  I 

Nor.    Nay,  I'd  a  dream  ;  'tis  my  house — I'll  stay  in  it. 
Pat.     Body  of  a  thousand  bombs  ! — 
Mala.  Pasquale, 

Leave  me  to  manage  this  ;  only — take  care — 

Don't  interfere  : — I've  carte  blanq^ 
Pat.     'Tis  agreed  so. 

Nor.     (The  best  of  all  of  this  is  now  to  come.) 
Mala.  [To  Norina,  sq/Ug.] 

(Amazement  mix'd  with  indignation — mind — ) 

Patiently  hear  me,  sister,  for  I  speak 

But  for  your  good  :  believe  me,  I  would  wish 

To  spare  you  a  disgrace — 
Nor.   \ Indignanti g.]  Disgrace!     Spare  me  ' 

Milla    (Most  capital  !)     To-morrow,  in  this  house 

Enters  the  new-made  bride. 
Nor.   [As  before.]  Another  lady! 

To  me  such  an  injurious  aflront  1 
Mala.  (Now  is  the  time  to  fly  into  a  passion.) 

[Don  Pasquale  is  behind,  listening  to  the  dialogue  wtlk 
great  interest. 
Nor.     The  bride  of  whom  ? 

Mala.  Of  Ernest — his  Norina  ! 

Nor.   [  With  disdain.] 

That  cunning  little  widow — that  coquette  ! 
Pas.   I  To  Malatesta.]    Bravo,  Doctor  ! 
Mala  (We  go  as  if  on  horseback  !) 

Nor.     That  flirting  hussy  here,  in  spite  of  me  ! 

I  and  Norina  'neath  the  self-same  roof? 

[Vehementtf 

Never  !     No,  sooner,  first,  I  would  depart  ! 
Pat.     With  all  my  heart  !     I  wish  to  Heaven  yon  would  1 
Nor.   [Changing  her  rnanner.] 

But  do  not  let  me  hurry — wail  a  little. 

If  these  same  nuptials  should  be  all  a  joke  1 

I  must  assure  myself  they're  real  first. 
\  Mala.  'Tis  just. — \Tu   I  km  Pasquale.] — Pasquale,   therc't 
I  no  other  way  ; 

I  So  these  two  you  must  unite  in  good  eameav 

'  Or  she  won't  go. 


DON   PASQUALE. 


a7 


Pa».  Non  mi  par  raro  ) 

Mal*.  [Chiamando.] 

Ehi  !  di  casa,  qualcuno  1 
Emesto  ' 


SCENA  ULTIMA.— BsiratTO  «  Stnn 


Km. 
Mala. 


Eccomi  ! 

A  voi  ! 
Accorda  Don  Pasquale 
La  mano  di  Nonna,  e  nn  annuo  assegno- 
Di  qaattrroraila  scudi. 

Ah,  caro  zio  I 
E  fia  ver  ? 
Mala.  Li  Don  Patqmde.]  D'  esitar  non  è  pib  tempo, 
Dite  di  si — 

M'  oppongo  ! 

Ed  io  consento  I        \A  Errtuto 
Corri  a  prender  Noriua  : 
E  d'  anirvi  io  m'impegno  in  sol  momento— 
Senz'  andar  lungi  la  8p<.«a  è  presta. 
Come  ?     Spiegatevi  ! 

Nonna  è  questa  I 
Quella  I  Norina  ?     Che  tradimento  1 
Dunque  Sofronia — 

Dura  in  convento  ' 
E  il  matrimonio- 
Fu  un  mio  pensiero, 
Stringervi  in  nodo  di  nullo  effetto, 
Il  modo  à  tani  di  fame  un  vero. 
E  chiaro  il  resto  del  romanzetto. 
Ah  bricconissimi  !     (  Vero  non  parmi  I 
Ciel  ti  ringrazio  !)     Cosi  ingannarmi, 
Meritereste — 

Va  siate  buono  ! 
Em.   \ Inginocchiandoti.]    Tìeh,  zio,  moveteri  ! 
Nor.  I  Con  sopro.]  Grazia!  perdono! 
f*a».     Tutto  dimentico.     Siate  felici  ! 

Com'  io  v'  unisco  ! — v'  unisca  il  Ciel  ! 


Erm 


Sor. 
P<U. 


Mala. 
Pat. 
Mala. 
Pat. 

Mala. 

Pat. 

Mala. 


Pat. 


Mala. 


Po».  I  can't  believe  my  Henses  ' 

Mala.  [Calling.]  Ho,  there  !  houo"  !  houiiel  who  waits  ^ — 
some  one  directly  \ 
Ernest  l 

SCENE  TH>  LAST.— EaiTBST  am/ ÒVtvonu 

Em.     I'm  here  t    I'm  here  I 

Mala.  'Ti8  well  !     To  you 

Tour  uncle,  Don  I'asquale,  kindly  grants 

Norina's  hand,  with  an  allowance  yearly — 

Four  thousand  crowns. 
Em.  Ah,  dearest,  best  of  uncles  I 

Can  it  ho  true  ? 
Mala.  \To  Pasquale.]  Too  late  to  hesitate  : 

Say  yes — 
Nor.  But  I  oppose  it  I 

Pat.  I  consent  1  [To  Emtm 

Run,  swiftly  as  the  wind,  and  find  Norina  : 

I  to  unite  you  undertake,  this  moment — 
Mala.  Without  you  going  farther,  the  bride's  ready 
Pas.     How*     Explain  yourself  ! 
Mala.  There  is  Norina  I 

Pat.     Eh  I  that  Norina  ?     What  treachery  is  this  I 

Why,  then,  Sophronia — 
Mala.  Still  is  in  the  convent  ! 

Pas.     My  marriage,  then — 
Mala.  Was  an  idea  of  mine 

To  bind  you  by  a  tie  of  no  effect. 

That  you  might  not  have  means  to  form  a  true  on» 

The  rest  of  the  romance  is  very  clear. 
Pat.     Cozening  rogue  !     (Still  I  dare  not  believe  it  I 

Kind  Heaven,  I  thank  thee  I)    To  deceive  me  bboa. 

You  merit — 
Mala.  Come,  now,  be  indulgent,  sir  I 

Em.  i Kneeling.  1  Ah,  uncle,  be  persuaded  ! 
Nor.  [Alto  kneeling.]  Pardon  !  pardon  ! 
Pa».     I  everything  forgive.     May  you  be  happy. 

As  I  unite  yon  ! — so  unite  you.  Heaven  I 


LA  MORALE  IN  TUTTO  QUESTO— TRXJS  THE  MORAL.    Noriha. 


— — ^H  -t-^ — É é    ^*^        ^^ 


OS 


nel-Io  •   no  se  e  -  doglie    in    qnan  •  ti  -  tà 
pmJed,    and     kit      pa»  -  non    soon  grow»    cold — 


ben 

è 

see  •  mo 

di 

oer 

He 

mutt 

ture  -  ly 

b» 

d» 

38 


DON   PASQUALE 


▼el  -  lo         cbi        B'ftm    moglia  In  recchia  è         tà 

ment-ed         who      would      mar  -  ry  ic/ien       ***•      o/d, 


É=§=^^SiÌ^^^ 


ti    -    tà 
growB  cold, 


non       e      doglie,     doglie  e 
and      hi»    passion,    and      hù 


Po». 


Malo*  I 
Bm     ( 


La  morale  è  molto  bella, 

Applicarla  a  me  8Ì  sta  ; 
Sei  pur  fina  o  bricconcella 

M'  hai  servito  come  va. 
La  morale  è  molto  bella 

Don  Pasquale  I'  applicherà 
(jaella  cara  bricconceQa 

Langa  più  di  noi  la  sa  ! 


f^^^i^i^:^^^!^^ 


Je 


In.. 
tion. 


quan  -  ti    -      ta. 
loon    grown    cold- 


Pa:         It  il  a  very  clever  moral, 

And  well  enough  applies  to  me  ; 
80,  little  rogue,  we  will  not  quarrel, 
Though  yon  have  nsed  me  scurvily. 
Maia.  ^  I  It  is  a  very  clever  moral, 
Em       )      As  Don  Pasquale  soon  will  see  • 

He  must  not  with  this  dear  rogne  qoarrat- 
8be  knowf  a  vast  deal  more  thaa  h*  ! 


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WOLF,  HUGO.  Fifty  Songs,  lligli  Voice.  Low  Voice Ernest  Newman 

FIFTY  MASTERSONGS.  High  Voice.  Low  Voice Henry  T.  Finck 

FIFTY  FHAKSPERE  SONGS.  High  Voice.  Low  Voice Charles  Vincent,  Mus.  Doc. 

MODERN  FRENCH  SONGS.    High  Voice.  Low  Voice.  Vol.   I.  Bemberg  to  Franck  ?  tjui;    u.,i 

Vol.  II.  Georges  to  Widor     ] ^"'"P  "^"' 

ONE  HUNDREB  ENGLISH  FOLKSONGS.  Medium  Voice Cecil  J.  Sharp 

ONE  HUNDRED  FOLKSONGS  OF  ALL  NATIONS.  Medium  Voica Granville  Bantock 

ONE  HUNDRED  SONGS  BY  TEN  MASTERS.   Higii  Voice.  Low  Voice  / 

Vol.    I.  Schubert,  Schumann,  Franz,  Rubinstein  aud  Jensen  [- Henry  T.  Finck 

Vol.  II.  Brahms,  Tchaikovsky,  Grieg    Wolf  and  Strauss  ) 

ONE  HUNDRED  SONGS  OF  ENGLAND.  High  Voice.  Low  Voice Granville  Bantock 

SEVENTY  SCOTTISH  SONGS.   High  Voice.    Low  Voice Helen  Hopekirk 

SIXTY  FOLKSONGS  OF  FRANCE.    Medium  Voice Julien  Tiersot 

SIXTY  IRISH  SONGS.  High  Voice  .  Low  Voice < William  Arms  Fisher 

SIXTY  PATRIOTIC  SONGS  OF  ALL  NATIONS.  Medium  ^■oice Granville  Bantock 

SONGS  BY  THIRTY  AMERICANS.   High  \'oice.  Low  Voice RupeU  Hughes 

SONGS  FROM  THE  OPERAS  FOR  SOPRANO H.  K.  Krehbiel 

SONGS  FROM  THE  OPERAS  FOR  MEZZO-SOPRANO  H.  E.  Krehbiel 

SONGS  FROM  THE  OPERAS  FOR  ALTO H.  E.  Krehbiel 

SONGS  FOR  THE  OPERAS  FOR  TENOR H.  E.  Krehbiel 

SONGS  FOR  THE  OPERAS  FOR  BARITONE  AND  BASS H.  E.  Krehbiel 

Each  volume  in  heavy  paper,  cloth  back,  $2.00;  in  full  cloth,  gilt,  $3.00.  Copies  mailed  postpaid. 
Other  volumes  in  preparation.  Bookiets,  giving  full  particulars,  with  portraits  of  Editors  and  contents 
of  volumes  published,  FREE  on  request. 

Note— These  works  will  be  sent  with  return  privilege  to  those  with  accounts  in  good  standing,  and  to 
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Write  for  particulars  of  our  Easy  Payment  Plan. 


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Favorite  Songs  of  Famous  Singers 


Price,  each,  $1.25  postpaid 


My  Favorite  French  Songs 

Book»  1  and  II  By  EMMA  CALVE  High  Voice    Low  Voice 

CThe  great  singer  here  gathers  together  her  favorites  among  French  songs  —  mostly  modern,  bome 
operatic,  and  a  few  of  the  ultra-modern  school.  To  these  she  adds  a  group  of  "Songs  my  Grand- 
mother sang,"  making  a  truly  unique  and  distinguished  collection.  From  these  charming  old  melodies 
down  to  the  songs  of  Debussy  the  singer  indicates  all  that  is  best  in  the  realm  of  French  song  composi- 
tion. Complete  with  biographical  sketch  with  portraits  and  an  introduction  from  Mme  Calvé's  pen. 
A  splendid  group  of  songs  valuable  to  both  singers  and  concert  goers. — BOSTON  TIMES 


Books  I  and  II 


My  Favorite  Songs 

By  JULIA  GULP 


High  Voice    Low  Voi« 


CThe  favorite  songs  of  this  highly  praised  Zy/'eder-singer  are  drawn  from  the  music  of  many  different 
lands,  from  her  native  Holland  to  our  own  America,  and  including  France,  Germany,  Ireland,  etc. 
This  collection  is  made  up  of  such  numbers  as  have  won  Mme.  Gulp's  affection  as  well  as  proved 
their  acceptability  to  her  enthusiastic  audiences,  and  the  volume  is  of  extraordinary  interest.  A  charm- 
ing introduction  from  the  singer's  own  pen  and  portraits  enrich  the  book. 

The  triumphs  of  the  singer  are  reflected  in  her  book. — THE  MUSICIAN 


My  Favorite  Songs 

By  GERALDINE  FARRAR 


High  Voice  By  GERALDINE  FARRAR  Low  Voice 

CThis  gifted  singer  shows  her  musical  training  by  the  preponderance  of  German  songs  in  the  collec- 
tion she  has  brought  together  The  various  numbers  have  been  sought  out  with  indefatigable  zeal, 
largely  from  treasures  of  song  buried  or  neglected  in  the  works  ot  great  writers,  and  are  therefore,  in 
many  ways,  new  to  the  average  teachei  or  singer.  Songs  from  other  lands,  such  as  Russia  and  Scandi- 
navia are  also  included.  The  book  contains  a  biographical  sketch,  portraits,  a  striking  portrait  on  the 
cameo  plate  paper  cover,  in  the  engraver's  best  art. 

Miss  Farrar's  selection  evidences  a  most  eclectic  and  at  the  same  time  impeccable 
musical   taste. -MUSICAL  COURIER 


High  Voice 


The  Most  Attractive  Volume  of  Folksongs  Ever  Published 

My  Favorite  Songs 

By  MARCELLA  SEMBRICH 


Low  Voice    : 


CMarcella  Sembrich  was  the  first  among  great  singers  to  reveal  the  treasures  of  folksong,  and  her 
knowledge  of  these  gems  from  many  lands  is  most  extensive.  In  this  volume  she  has  collected  those 
which  her  experience  proved  were  grateful  to  the  singer  ard  pleasing  to  her  audiences. 

These  are  the  folksongs  v^rhich  Marcella  Sembrich  has  sung  so  often  in  her  concerts  that  the 
seal  of  public  approval  is  stamped  upon  them  all.— MUSICAL  COURIER. 


My  Favorite  Songs 

By  ALMA  GLUCK 


Low  Voice    : 


;  High  Voice 

J  CNo  contemporary  recital-singer  has  a  larger  following  of  charmed  listeners  than  Mme.  Gluck,  and 

;  her  excellent  choice  of  songs  plays  a  vital  part  in  her  success.  The  numbers  included  m  this  volume 

:  she  has  gathered  from  many  sources;  but  they  all  serve  to  display  the  suave  lyricism,  the  delicate 

•  nuances,  and  the  arch  humor  of  her  captivating  art.  Portraits  and  an  introduction  from  the  pen  of  the 

•  singer  complete  the  attractive  features  of  the  book. 

•  Singers  will  do  well  to  avail  themselves  of  this  rare  selection  of  songs,  with  which  the 

•  favorite  singer  has  largely  won  her  popularity  — THE   MUSICIAN 

• 

I  Oliver  Ditson  Company,  179  Tremont  Street,  Boston 

I  Chas.  H.  Ditson  &  Co.,  New  York  Lyon  &  Healy,  Chicago 

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Standc 

1] 

rd  Opera  \\ 

brettos 

All  librettos  have  English  text.  Additional  texts  are  indicated  by  Italic  letters,  as  follows  : 

/,  Italian,  G  German 

F 

French.  Those  marked  with (*)contain  no  music  and  are  15  cents 

a  copy.    All    che   others 

have  the  music  of  the  principal  airs  and  are  25  cents  each. 

A— G 

Title 

Text 

Composer 

Title 

Text                  Composer 

Africaine,  L' 

/. 

Giacomo  Aleyerbecr 

Don  Giovanni 

/.                 W.  A.  Mozart 

Alda 

/. 

Giuseppe  Verdi 

Don  Pasquale 

/,          Gaetano  Donizetti 

*  Amico  Fritz,  L'  (Friend 

*Dorothy 

Alfred  Ce  Hie  r 

Fritz) 

/. 

Pietro  Mascagni 

Elisire  d'amore,  I  ' 

L           Gaetano  Donizetti 

Armide 

/: 

C.  IV.  von  Cluck 

*Erminie 

/.       Edward  JakobowsJd 

Ballo  in  Maschera,  Un 

Ernani 

/.               Giuseppe  Verdi 

(The  Masked  Ball) 

/. 

Giuseppe  Verdi 

Etoile  du  Nord,  L'  (The 

Barbe-Bleue  (Blue 

Star  of  the  North) 

/.        Giacomo  Meyerbeer 

Beard) 

F. 

Jacques  Offenbach 

Fatinitza 

Franz  von  Suppc 

Barbiere  di  Siviglia,  Il 

Faust 

F.             Charles  Gounod 

(Barber  of  Seville) 

I. 

Gioacchino  A.  Rossini 

do. 

/.                       do. 

Belle  Hélène,  La 

F. 

Jacques  Offenbach 

Favorita,  La 

f.           Gaetano  Donizetti 

Bells  of  Corneville 

(Chimes  of  Normandy) 

Robert  Planque/ic 

Fidelio 

G.         L.  van  Beethoven 

*Billee  Taylor 

Edward  Solomon 

Figlia  del  Reggimento, 
La  (Daughter  of  the 

♦Boccaccio 

Fra?i2  von  Suppc 

Regiment) 

L           Gaetano  Donizetti 

Bohemian  Girl,  The 

Michael  Wm.  Balfe 

Fille  de  Madame  Angot, 

do. 

I. 

do. 

La 

F,               Charles  L^ecocq 

Carmen 

F. 

Georges  Bizet 

Flauto  Magico,  Il  (The 

do. 

I. 

do. 

Magic  Flute) 

L                IV.  A.  Mozart 

Cavalleria  Rusticana 

/. 

Pietro  Mascagni 

Fledermaus,  Die  (Tlie 

Chimes  of  Normandy 

Bat) 

G.            Johann  Strauss 

(Bells  of  Corneville) 

Robert  Planquette 

Fleur  de  The 

F.       F  Jlcrvc  {Longer) 

Cinderella 

/. 

GiO(rcchino  A.  Rossini 

Flying  Dutchman,  The 

Richard  Wag  J  ter 

Contes  d'Hoffmann,  Les 

do 

G.                       do. 

(Tales  of  Hoffmann) 

/; 

Jacquts  Offenbach 

Fra  Diavolo 

I.             D  F.  E.  Auber 

Crispino  e  la  Comare 

(The  Cobbler  and 

Freischiitz,  Der 

G.  Carl  Maria  7'on  Weber 

the  Fairy) 

/. 

Luigi  and  F.  Ricci 

do 

/.                          do. 

Crown  Diamonds,  The 

F. 

D.  F.  F.  Auber 

*Gillette  {La  Belle 

Dame  Blanche,  La 

F.  A.  Boieldieu 

Coquette) 

Edmond  .ludran 

Damnation  of  Faust,  The 

F. 

Hector  Berlioz 

Gioconda,  La 

I       .Imi  lea  re  Ponchielli 

Dinorah 

I. 

Giacomo  Meyerbeer 

Giroflé-Girofla 

F                Charles  Lecoca 

'Doctor  of  Alcantara,  The 

Julius  Eichberg 

Gotterdaramjrung,  Die 

C .           Richard  Wagner 

«    ®    OLIVER  DITSON  COMPANY    ®    © 

1         .                 ... 

Standc 

XÌ 

"d  Opera  Li 

brettos 

All  librettos  have  English  text.  Additional  texts  are  indicated  by  Italic  letters,  as  follows: 

/,  Italian  ;  G,  German 

;F. 

French.  Those  marked  with  (*)  contain  no  music  and  are  15  cents 

a  copy.    All   the    others 

have  the  music  of  the   principal  airs  and  are   25  cents  each. 

G— Z 

Title 

Text 

Composer 

Title 

Text                   Composer 

Grand  Duchess  of 

OteUo 

/.               Giuseppe  Verdi 

Gerolstein,  The 

F. 

Jacques  Offenbach 

Pagliacci,  I 

I.               R.  Leoncavallo 

♦Hamlet 

Ambroise  Tho?nas 

Parsifal 

G.          Richard  Wagner 

Jewess,  The 

I. 

Jacques  F.  Halévy 

Pinafore  (H.M.S.) 

Sir  Arthur  S.  Sullivan 

Konigin  von  Saba 

Prophète,  Le 

/.        Giacomo  Meyerbeer 

(Queen  of  Sheba) 

G. 

Karl  Goldmark 

Puritani,  I 

I.             Vincenzo  Bellini 

Lakmé 

I. 

Leo  Delibes 

Rheingold,  Das  (The 

Lily  of  Killamey,  The 

Sir  Jules  Benedict 

Rhinegold) 

G.          Richard  Wagner 

Linda  di  Chamounix 

I. 

Gaetano  Donizetti 

Rigoletto 

I.               Gitiseppe  Verdi 

♦Little  Duke,  The 

Charles  Lecocq 

Robert  le  Diable 

J.        Giacomo  Meyerbeer 

Lohengrin 

G. 

Richard  Wagner 

Romeo  et  Julietta 

F.             Charles  Gounod 

do. 

I. 

do. 

Romeo  e  Giulietta 

I.                         do. 

♦Lovely  Galatea,  The 

Franz  von  Suppé 

Samson  et  Dalila 

F.     Camille  Saint-Saens 

Lucia  di  Lammermoor 

I. 

Gaetano  Donizetti 

Semiramide 

I.  Gioacchino  A.  Rossini 

Lucrezia  Borgia 

I. 

do. 

Siegfried 

G.          Richard  Wagner 

♦Madame  Favart 

Jacques  Offenbach 

♦Sleeping  Queen,  The 

Michael  Wm.  Balfe 

Manon 

F. 

Jules  Massenet 

Sonnambula,  La 

/.             Vincenzo  Bellini 

Maritana 

J 

Vm.  Vincent  Wallace 

♦Sorcerer,  The 

Sir  Arthur  S.  Sullivan 

Marriage  of  Figaro 

/. 

W.  A.  Mozart 

♦Spectre  Knight,  The 

Alfred  Cellier 

Martha 

/. 

Friedrich  von  Flotow 

♦Stradella 

Friedrich  von  Flotow 

♦Mascot,  The 

Edmond  Audran 

Meistersinger,  Die 

Tannhauser 

G.         Richard  Wagner 

(The  Mastersingers) 

G. 

Richard  Wagner 

Traviata,  La 

I.               Giuseppe  Verdi 

Mefistofele 

I. 

Arrigo  Boi  to 

Tristan  und  Isolde 

G.          Richard  Wagner 

Merry  Wives  of 

Trovatore,  Il 

/,              Giuseppe  Verdi 

Windsor,  The 

Otto  Nicolai 

Ugonotti,  Gli  (The 

Mignon 

I. 

Ambroise  Thomas 

Huguenots) 

J.        Giacomo  Meyerbeer 

Mikado,  The 

Sir  Arthur  S.  Sullivan 

Verkaufte  Braut,  Die 

♦Musketeers,  The 

Louis  Varney 

(The  Bartered  Bride) 

G.       Friedrich  Smetana 

♦Nanon 

Richard  Genée 

Walkure,  Die 

G.         Richard  Wagnsr 

Norma 

I, 

Vincenzo  Bellini 

William  Tell 

I.   Gioacchino  A.  Rossini 

♦OUvette 

Edmond  A  udran 

Zauberflote,  Die  (The 

Orpkeus 

C.  W^von  Gluck 

Magic  Flute) 

G.              W.A.  Mozart 

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J  Son^s  from  the  Operas 


m 


Edited  by  H.  E.  KREHBIEL 

Bound  in  paper,  cloth  back,  $1.7^  each,  postpaid 
In  full  cloth,  gilt,    .     .     .     $^.00  each,  postpaid 


In  these  volumes  of  THE  MUSICIANS  LIBRARY  the  editor  has 
presented  in  chronological  order  the  most  famous  arias  from  operas  of 
every  school.  Beginning  with  songs  from  the  earliest  Italian  productions, 
a  comprehensive  view  of  operatic  development  is  given  by  well-chosen 
examples  from  German,  French,  and  later  Italian  works,  down  to  con- 
temporary musical  drama. 

C^  Each  song  or  aria  is  given  in  its  original  key  with  the  original  text,  and 

a  faithful  and  singable  English  translation. 

il^Each  volume  contains  an   interesting  preface  by  Mr.   Krehbiel  with 

historic,  descriptive  and  interpretative  notes  on  each  song. 

Ct  Portraits  of  the  most  noted  composers  represented  are  given  in  each 

volume. 

<H  Size  of  each  volume,  9>^x  I2>^  inches. 


^ 


Soprano  Son^s  from  the  Operas 

Contains  twenty-three  numbers  by  nineteen  composers.  The  music  covers  188 
pages,  the  prefatory  matter  25  pages.  Portraits  are  given  of  Beethoven,  Bellini,  Gluck, 
Gounod,  Meyerbeer,  Mozart,  Rossini,  Verdi  and  Weber. 

Mezzo- Soprano  Son^s  from  the  Operas 

Contains  thirty  numbers  by  twenty-five  composers.  The  music  covers  186  pages, 
the  prefatory  matter  29  pages.  Portraits  are  given  of  Auber,  Bizet,  Donizetti,  Handel, 
Massenet,  Saint-Saens,  SpontinI,  Thomas  and  Wagner. 

Alto  Son^s  from  the  Operas 

Contains  twenty-nine  numbers  by  twenty-two  composers.  The  music  covers  176 
pages,  the  prefatory  matter  20  pages.  Portraits  are  given  of  Glinka,  Gluck,  Handel, 
Lully,  Meyerbeer,  Purcell,  Rossini,  Thomas  and  Verdi. 

Tenor  Son^s  from  the  Operas 

Contains  twenty-nine  numbers  by  twenty-one  composers.  The  music  covers  192 
pages,  the  prefatory  matter  27  pages.  Portraits  are  given  of  Beethoven,  Bizet,  Gluck, 
Gounod,  Mascagni,  Massenet,  Verdi,  Wagner  and  Weber. 

Baritone  and  Bass  Son^s  from  the  Operas 

Contains  twenty-seven  numbers  by  twenty-four  composers.    The  music  covers      r; 
188  pages,  the  prefatory  matter  20  pages.     Portraits  are  given  of  Bellini,  Bizet,  Cheru- 
bini, Gounod,  Halévy,  Handel,  Mozart,  Ponchielli  and  Tchaikovsky. 


flOLjMf=====a  !=====!  i=====af=^ 


ML50.D6.D62  1888 
C037528545 

UC    BERKELEY  LIBRARIfS 


CD375Efl5M5 


DATE  DUE 


Music  Library 

University  of  California  at 

Berkeley 


